Film

A film, also called a movie, motion picture, moving picture, or photoplay, is a series of still images that, when shown on a screen, create the illusion of moving images. (See the glossary of motion picture terms.)

This optical illusion causes the audience to perceive continuous motion between separate objects viewed in rapid succession. The process of filmmaking is both an art and an industry. A film is created by photographing actual scenes with a motion-picture camera, by photographing drawings or miniature models using traditional animation techniques, by means of CGI and computer animation, or by a combination of some or all of these techniques, and other visual effects.

The word "cinema", short for cinematography, is often used to refer to filmmaking and the film industry, and to the art of filmmaking itself. The contemporary definition of cinema is the art of simulating experiences to communicate ideas, stories, perceptions, feelings, beauty or atmosphere by the means of recorded or programmed moving images along with other sensory stimulations.[1]

Films were originally recorded onto plastic film through a photochemical process and then shown through a movie projector onto a large screen. Contemporary films are now often fully digital through the entire process of production, distribution, and exhibition, while films recorded in a photochemical form traditionally included an analogous optical soundtrack (a graphic recording of the spoken words, music and other sounds that accompany the images which runs along a portion of the film exclusively reserved for it, and is not projected).

Films are cultural artifacts created by specific cultures. They reflect those cultures, and, in turn, affect them. Film is considered to be an important art form, a source of popular entertainment, and a powerful medium for educating—or indoctrinating—citizens. The visual basis of film gives it a universal power of communication. Some films have become popular worldwide attractions through the use of dubbing or subtitles to translate the dialog into other languages.

The individual images that make up a film are called frames. In the projection of traditional celluloid films, a rotating shutter causes intervals of darkness as each frame, in turn, is moved into position to be projected, but the viewer does not notice the interruptions because of an effect known as persistence of vision, whereby the eye retains a visual image for a fraction of a second after its source disappears. The perception of motion is due to a psychological effect called the phi phenomenon.

The name "film" originates from the fact that photographic film (also called film stock) has historically been the medium for recording and displaying motion pictures. Many other terms exist for an individual motion-picture, including picture, picture show, moving picture, photoplay, and flick. The most common term in the United States is movie, while in Europe film is preferred. Common terms for the field in general include the big screen, the silver screen, the movies, and cinema; the last of these is commonly used, as an overarching term, in scholarly texts and critical essays. In early years, the word sheet was sometimes used instead of screen.

Muybridge race horse animated
Sallie Gardner at a Gallop, made by Eadweard Muybridge in 1878, is sometimes cited as the earliest film.

History

LouisLePrinceFirstFilmEver RoundhayGardenScene
A frame from Roundhay Garden Scene, the world's earliest surviving film produced using a motion picture camera, by Louis Le Prince, 1888.
Bundesarchiv Bild 146-1988-035-15, Berlin, Wintergarten
The Berlin Wintergarten theatre was the site of the first cinema ever, with a short film presented by the Skladanowsky brothers on 1 November 1895. (Pictured here is a variety show at the theater in July 1940.)

Preceding technologies

Preceding film in origin by thousands of years, early plays and dances had elements common to film: scripts, sets, costumes, production, direction, actors, audiences, storyboards and scores. Much terminology later used in film theory and criticism apply, such as mise en scène (roughly, the entire visual picture at any one time). Owing to the lack of any technology for doing so, the moving images and sounds could not be recorded for replaying as with film.

The magic lantern, probably created by Christiaan Huygens in the 1650s, could be used to project animation, which was achieved by various types of mechanical slides. Typically, two glass slides, one with the stationary part of the picture and the other with the part that was to move, would be placed one on top of the other and projected together, then the moving slide would be hand-operated, either directly or by means of a lever or other mechanism. Chromotrope slides, which produced eye-dazzling displays of continuously cycling abstract geometrical patterns and colors, were operated by means of a small crank and pulley wheel that rotated a glass disc.[2]

In the mid-19th century, inventions such as Joseph Plateau's phenakistoscope and the later zoetrope demonstrated that a carefully designed sequence of drawings, showing phases of the changing appearance of objects in motion, would appear to show the objects actually moving if they were displayed one after the other at a sufficiently rapid rate. These devices relied on the phenomenon of persistence of vision to make the display appear continuous even though the observer's view was actually blocked as each drawing rotated into the location where its predecessor had just been glimpsed. Each sequence was limited to a small number of drawings, usually twelve, so it could only show endlessly repeating cyclical motions. By the late 1880s, the last major device of this type, the praxinoscope, had been elaborated into a form that employed a long coiled band containing hundreds of images painted on glass and used the elements of a magic lantern to project them onto a screen.

The use of sequences of photographs in such devices was initially limited to a few experiments with subjects photographed in a series of poses because the available emulsions were not sensitive enough to allow the short exposures needed to photograph subjects that were actually moving. The sensitivity was gradually improved and in the late 1870s, Eadweard Muybridge created the first animated image sequences photographed in real-time. A row of cameras was used, each, in turn, capturing one image on a photographic glass plate, so the total number of images in each sequence was limited by the number of cameras, about two dozen at most. Muybridge used his system to analyze the movements of a wide variety of animal and human subjects. Hand-painted images based on the photographs were projected as moving images by means of his zoopraxiscope.[3]

Le Voyage dans la lune
A famous shot from Georges Méliès Le Voyage dans la Lune (A Trip to the Moon) (1902), an early narrative film and also an early science fiction film.

First motion pictures

By the end of the 1880s, the introduction of lengths of celluloid photographic film and the invention of motion picture cameras, which could photograph an indefinitely long rapid sequence of images using only one lens, allowed several minutes of action to be captured and stored on a single compact reel of film. Some early films were made to be viewed by one person at a time through a "peep show" device such as the Kinetoscope and the mutoscope. Others were intended for a projector, mechanically similar to the camera and sometimes actually the same machine, which was used to shine an intense light through the processed and printed film and into a projection lens so that these "moving pictures" could be shown tremendously enlarged on a screen for viewing by an entire audience. The first kinetoscope film shown in public exhibition was Blacksmith Scene, produced by Edison Manufacturing Company in 1893. The following year the company would begin Edison Studios, which became an early leader in the film industry with notable early shorts including The Kiss, and would go on to produce close to 1,200 films.

The first public screenings of films at which admission was charged were made in 1895 by the American Woodville Latham and his sons, using films produced by their Eidoloscope company,[4] and by the – arguably better known – French brothers Auguste and Louis Lumière with ten of their own productions. Private screenings had preceded these by several months, with Latham's slightly predating the Lumière brothers'. Another opinion is that the first public exhibition of projected motion pictures in America was at Brooklyn Institute in New York City 9 May 1893.

Early evolution

The earliest films were simply one static shot that showed an event or action with no editing or other cinematic techniques. Around the turn of the 20th century, films started stringing several scenes together to tell a story. The scenes were later broken up into multiple shots photographed from different distances and angles. Other techniques such as camera movement were developed as effective ways to tell a story with film. Until sound film became commercially practical in the late 1920s, motion pictures were a purely visual art, but these innovative silent films had gained a hold on the public imagination. Rather than leave audiences with only the noise of the projector as an accompaniment, theater owners hired a pianist or organist or, in large urban theaters, a full orchestra to play music that fit the mood of the film at any given moment. By the early 1920s, most films came with a prepared list of sheet music to be used for this purpose, and complete film scores were composed for major productions.

A clip from the Charlie Chaplin silent film The Bond (1918)

The rise of European cinema was interrupted by the outbreak of World War I, while the film industry in the United States flourished with the rise of Hollywood, typified most prominently by the innovative work of D. W. Griffith in The Birth of a Nation (1915) 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 wartime 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.

Sound

In the 1920s, the development of electronic sound recording technologies made it practical to incorporate a soundtrack of speech, music and sound effects synchronized with the action on the screen. The resulting sound films were initially distinguished from the usual silent "moving pictures" or "movies" by calling them "talking pictures" or "talkies." The revolution they wrought was swift. By 1930, silent film was practically extinct in the US and already being referred to as "the old medium."

Color

Another major technological development was the introduction of "natural color," which meant color that was photographically recorded from nature rather than added to black-and-white prints by hand-coloring, stencil-coloring or other arbitrary procedures, although the earliest processes typically yielded colors which were far from "natural" in appearance. While the advent of sound films quickly made silent films and theater musicians obsolete, color replaced black-and-white much more gradually. The pivotal innovation was the introduction of the three-strip version of the Technicolor process, first used for animated cartoons in 1932, then also for live-action short films and isolated sequences in a few feature films, then for an entire feature film, Becky Sharp, in 1935. The expense of the process was daunting, but favorable public response in the form of increased box office receipts usually justified the added cost. The number of films made in color slowly increased year after year.

1950s: growing influence of television

In the early 1950s, the proliferation of black-and-white television started seriously depressing North American theater attendance. In an attempt to lure audiences back into theaters, bigger screens were installed, widescreen processes, polarized 3D projection, and stereophonic sound were introduced, and more films were made in color, which soon became the rule rather than the exception. Some important mainstream Hollywood films were still being made in black-and-white as late as the mid-1960s, but they marked the end of an era. Color television receivers had been available in the US since the mid-1950s, but at first, they were very expensive and few broadcasts were in color. During the 1960s, prices gradually came down, color broadcasts became common, and sales boomed. The overwhelming public verdict in favor of color was clear. After the final flurry of black-and-white films had been released in mid-decade, all Hollywood studio productions were filmed in color, with the usual exceptions made only at the insistence of "star" filmmakers such as Peter Bogdanovich and Martin Scorsese.

1960s and later

The decades following the decline of the studio system in the 1960s 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 contributed to the changes the medium experienced in the latter half of the 20th century. Digital technology has been the driving force for change throughout the 1990s and into the 2000s. Digital 3D projection largely replaced earlier problem-prone 3D film systems and has become popular in the early 2010s.

Film theory

BolexH16
This 16 mm spring-wound Bolex "H16" Reflex camera is a popular entry level camera used in film schools.

"Film theory" seeks to develop concise and systematic concepts that apply to the study of film as art. The concept of film as an art-form began in 1911 with 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 psychoanalytic 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," that addresses this. 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." An example of the language is a sequence of back and forth images of one speaking actor's left profile, followed by another speaking actor's right profile, then a repetition of this, which is a language understood by the audience to indicate a conversation. This describes another theory of film, the 180-degree rule, as a visual story-telling device with an ability to place a viewer in a context of being psychologically present through the use of visual composition and editing. The "Hollywood style" includes this narrative theory, due to the overwhelming practice of the rule by movie studios based in Hollywood, California, during film's classical era. Another example of cinematic language is having a shot that zooms in on the forehead of an actor with an expression of silent reflection that cuts to a shot of a younger actor who vaguely resembles the first actor, indicating that the first person is remembering a past self, an edit of compositions that causes a time transition.

Montage

Montage is the technique by which separate pieces of film are selected, edited, and then pieced together to make a new section of film. A scene could show a man going into battle, with flashbacks to his youth and to his home-life and with added special effects, placed into the film after filming is complete. As these were all filmed separately, and perhaps with different actors, the final version is called a montage. Directors developed a theory of montage, beginning with Eisenstein and the complex juxtaposition of images in his film Battleship Potemkin.[5] Incorporation of musical and visual counterpoint, and scene development through mise en scene, editing, and effects has led to more complex techniques comparable to those used in opera and ballet.

Film 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 their opinions. Despite this, critics have an important impact on the audience response and attendance at 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 and the assessment of the director's and screenwriters' work that makes up the majority of most film reviews can still have an important impact on whether people decide to see a film. For prestige films such as most dramas and art films, the influence of reviews is important. Poor reviews from leading critics at major papers and magazines will often reduce audience interest and attendance.

The impact of a reviewer on a given film's box office performance is a matter of debate. Some observers claim that movie marketing in the 2000s is so intense, well-coordinated and well financed that reviewers cannot prevent a poorly written or filmed blockbuster from attaining market success. However, the cataclysmic failure of some heavily promoted films which were harshly reviewed, as well as the unexpected success of critically praised independent films indicates that extreme critical reactions can have considerable influence. Other observers 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. Journalist film critics are sometimes called film reviewers. Critics who take a more academic approach to films, through publishing in film journals and writing books about films using film theory or film studies approaches, study how film and filming techniques work, and what effect they have on people. Rather than having their reviews published in newspapers or appearing on television, their articles are published in scholarly journals or up-market magazines. They also tend to be affiliated with colleges or universities as professors or instructors.

Industry

Filmstudio Babelsberg Eingang
Founded in 1912, the Babelsberg Studio near Berlin was the first large-scale film studio in the world, and the forerunner to Hollywood. It still produces global blockbusters every year.

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 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. 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, much of the film industry is centered around Hollywood, California. 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.[6] Though the expense involved in making films 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, an 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, 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. Revenue in the industry is sometimes volatile due to the reliance on blockbuster films released in movie theaters. The rise of alternative home entertainment has raised questions about the future of the cinema industry, and Hollywood employment has become less reliable, particularly for medium and low-budget films.[7]

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 (e.g., 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 film-related toys (e.g., Star Wars figures). Sub-industries of pre-existing industries may deal specifically with film, such as product placement and other advertising within films.

Terminology

The terminology used for describing motion pictures varies considerably between British and American English. In British usage, the name of the medium is "film". The word "movie" is understood but seldom used.[8][9] Additionally, "the pictures" (plural) is used semi-frequently to refer to the place where movies are exhibited, while in American English this may be called "the movies", but it is becoming outdated. In other countries, the place where movies are exhibited may be called a cinema or movie theatre. By contrast, in the United States, "movie" is the predominant form. Although the words "film" and "movie" are sometimes used interchangeably, "film" is more often used when considering artistic, theoretical, or technical aspects. The term "movies" more often refers to entertainment or commercial aspects, as where to go for fun evening on a date. For example, a book titled "How to Understand a Film" would probably be about the aesthetics or theory of film, while a book entitled "Let's Go to the Movies" would probably be about the history of entertaining movies and blockbusters.

Further terminology is used to distinguish various forms and media used in the film industry. "Motion pictures" and "moving pictures" are frequently used terms for film and movie productions specifically intended for theatrical exhibition, such as, for instance, Batman. "DVD" and "videotape" are video formats that can reproduce a photochemical film. A reproduction based on such is called a "transfer." After the advent of theatrical film as an industry, the television industry began using videotape as a recording medium. For many decades, tape was solely an analog medium onto which moving images could be either recorded or transferred. "Film" and "filming" refer to the photochemical medium that chemically records a visual image and the act of recording respectively. However, the act of shooting images with other visual media, such as with a digital camera, is still called "filming" and the resulting works often called "films" as interchangeable to "movies," despite not being shot on film. "Silent films" need not be utterly silent, but are films and movies without an audible dialogue, including those that have a musical accompaniment. The word, "Talkies," refers to the earliest sound films created to have audible dialogue recorded for playback along with the film, regardless of a musical accompaniment. "Cinema" either broadly encompasses both films and movies, or it is roughly synonymous with film and theatrical exhibition, and both are capitalized when referring to a category of art. The "silver screen" refers to the projection screen used to exhibit films and, by extension, is also used as a metonym for the entire film industry.

"Widescreen" refers to a larger width to height in the frame, compared to earlier historic aspect ratios.[10] 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.[11] A "short" is a film that is not as long as a feature-length film, often screened with other shorts, or preceding a feature-length film. An "independent" is a film made outside the conventional film industry.

In US usage, one talks of a "screening" or "projection" of a movie or video on a screen at a public or private "theater." In British English, a "film showing" happens at a cinema (never a "theatre", which is a different medium and place altogether).[9] A cinema usually refers to an arena designed specifically to exhibit films, where the screen is affixed to a wall, while a theater usually refers to a place where live, non-recorded action or combination thereof occurs from a podium or other type of stage, including the amphitheater. Theaters can still screen movies in them, though the theater would be retrofitted to do so. One might propose "going to the cinema" when referring to the activity, or sometimes "to the pictures" in British English, whereas the US expression is usually "going to the movies." A cinema usually shows a mass-marketed movie using a front-projection screen process with either a film projector or, more recently, with a digital projector. But, cinemas may also show theatrical movies from their home video transfers that include Blu-ray Disc, DVD, and videocassette when they possess sufficient projection quality or based upon need, such as movies that exist only in their transferred state, which may be due to the loss or deterioration of the film master and prints from which the movie originally existed. Due to the advent of digital film production and distribution, physical film might be absent entirely. A "double feature" is a screening of two independently marketed, stand-alone feature films. A "viewing" is a watching of a film. "Sales" and "at the box office" refer 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.

Any film may also have a "sequel", which portrays events following those in the film. Bride of Frankenstein is an early example. When there are more films than one with the same characters, story arcs, or subject themes, these movies become a "series," such as the James Bond series. And, existing outside a specific story timeline usually, does not exclude a film from being part of a series. A film that portrays events occurring earlier in a timeline with those in another film, but is released after that film, is sometimes called a "prequel," an example being Butch and Sundance: The Early Days.

The "credits," or "end credits," is a list that gives credit to the people involved in the production of a film. Films from before the 1970s usually start a film with credits, often ending with only a title card, saying "The End" or some equivalent, often an equivalent that depends on the language of the production. From then onward, a film's credits usually appear at the end of most films. However, films with credits that end a film often repeat some credits at or near the start of a film and therefore appear twice, such as that film's acting leads, while less frequently some appearing near or at the beginning only appear there, not at the end, which often happens to the director's credit. The credits appearing at or near the beginning of a film are usually called "titles" or "beginning titles." A post-credits scene is a scene shown after the end of the credits. Ferris Bueller's Day Off has a post-credit scene in which Ferris tells the audience that the film is over and they should go home.

A film's "cast" refers to a collection of the actors and actresses who appear, or "star," in a film. A star is an actor or actress, often a popular one, and in many cases, a celebrity who plays a central character in a film. Occasionally the word can also be used to refer to the fame of other members of the crew, such as a director or other personality, such as Martin Scorsese. A "crew" is usually interpreted as the people involved in a film's physical construction outside cast participation, and it could include directors, film editors, photographers, grips, gaffers, set decorators, prop masters, and costume designers. A person can both be part of a film's cast and crew, such as Woody Allen, who directed and starred in Take the Money and Run.

A "film goer," "movie goer," or "film buff" is a person who likes or often attends films and movies, and any of these, though more often the latter, could also see oneself as a student to films and movies or the filmic process. Intense interest in films, film theory, and film criticism, is known as cinephilia. A film enthusiast is known as a cinephile or cineaste.

Preview

A preview performance refers to a showing of a film 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 based on the audience response. One example of a film that was changed after a negative response from the test screening is 1982's First Blood. After the test audience responded very negatively to the death of protagonist John Rambo, a Vietnam veteran, at the end of the film, the company wrote and re-shot a new ending in which the character survives.[12]

Trailer and teaser

Trailers or previews are advertisements for films that will be shown in 1 to 3 months at a cinema. Back in the early days of cinema, with theaters that had only one or two screens, only certain trailers were shown for the films that were going to be shown there. Later, when theaters added more screens or new theaters were built with a lot of screens, all different trailers were shown even if they weren't going to play that film in that theater. Film studios realized that the more trailers that were shown (even if it wasn't going to be shown in that particular theater) the more patrons would go to a different theater to see the film when it came out. The term "trailer" comes from their having originally been shown at the end of a film program. 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 film" in a double feature program) begins. Film trailers are also common on DVDs and Blu-ray Discs, as well as on the Internet and mobile devices. Trailers are created to be engaging and interesting for viewers. As a result, in the Internet era, viewers often seek out trailers to watch them. Of the ten billion videos watched online annually in 2008, film trailers ranked third, after news and user-created videos.[13] Teasers are a much shorter preview or advertisement that lasts only 10 to 30 seconds. Teasers are used to get patrons excited about a film coming out in the next six to twelve months. Teasers may be produced even before the film production is completed.

Education and propaganda

Film is used for a range of goals, including education and propaganda. When the purpose is primarily educational, a film is called an "educational film". Examples are recordings of academic lectures and experiments, or 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 Andrzej Wajda, or more subtly, the films of Andrei Tarkovsky. The same film may be considered educational by some, and propaganda by others as the categorization of a film can be subjective.

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 even without a camera, as in Stan Brakhage's 1963 film Mothlight), or thousands of actors, extras, and crew members 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 development, pre-production, production, post-production and 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 artistic works from the creators' perspective (e.g., film director, cinematographer, screenwriter) and for-profit business entities for the production companies.

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 is distinguished from cast, who are 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 screenwriters and film 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 (162/3 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).[14] When sound film was introduced in the late 1920s, a constant speed was required for the sound head. 24 frames per second were 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 films 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 preferred by some film-makers, especially because footage shot with digital cinema can be evaluated and edited with non-linear editing systems (NLE) without waiting for the film stock to be processed. The migration was gradual, and as of 2005, most major motion pictures were still shot on film.

Independent

Fratelli Lumiere
The Lumière Brothers, who were among the first filmmakers

Independent filmmaking often takes place outside Hollywood, or other major studio systems. An independent film (or indie film) is a film initially produced without financing or distribution from a major film 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 lead 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).[15] 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 film production significantly. Both production and post-production costs have been significantly lowered; in the 2000s, the hardware and software for post-production can be installed in a commodity-based personal computer. Technologies such as DVDs, FireWire connections and a wide variety of professional and consumer-grade video editing software make film-making relatively affordable.

Since the introduction of digital video DV technology, the means of production have become more democratized. Filmmakers can conceivably shoot a film with a digital video camera and edit the film, create and edit the sound and music, and mix the final cut on a high-end 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 websites such as YouTube and Veoh has further changed the filmmaking landscape, enabling indie filmmakers to make their films available to the public.

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 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 most 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.

Distribution

Film distribution is the process through which a film is made available for viewing by an audience. This is normally the task of a professional film distributor, who would determine the marketing strategy of the film, the media by which a film is to be exhibited or made available for viewing, and may set the release date and other matters. The film may be exhibited directly to the public either through a movie theater (historically the main way films were distributed) or television for personal home viewing (including on DVD-Video or Blu-ray Disc, video-on-demand, online downloading, television programs through broadcast syndication etc.). Other ways of distributing a film include rental or personal purchase of the film in a variety of media and formats, such as VHS tape or DVD, or Internet downloading of streaming using a computer.

Animation

Animhorse
An animated image of a horse, made using eight pictures.

Animation is a 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 phi phenomenon). Generating such a film is very labor-intensive and tedious, though the development of computer animation has greatly sped up the process. Because animation is very time-consuming and often very expensive to produce, the majority of animation for TV and films 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 in the United States, and by Osamu Tezuka in Japan, and adapted by other studios as cartoons moved from movie theaters to television.[16] Although most animation studios are now using digital technologies in their productions, there is a specific style of animation that depends on film. Camera-less animation, made famous by film-makers like Norman McLaren, Len Lye, and Stan Brakhage, is painted and drawn directly onto pieces of film, and then run through a projector.

See also

Notes

  1. ^ Severny, Andrei (September 5, 2013). "The Movie Theater of the Future Will Be In Your Mind". Tribeca. Archived from the original on September 7, 2013. Retrieved September 5, 2013.
  2. ^ Barber, Theodore X (1989). "Phantasmagorical Wonders: The Magic Lantern Ghost Show in Nineteenth-Century America". Film History. 3 (2): 73–86.
  3. ^ Williams, Alan Larson (1992) Republic of images: a history of French filmmaking Archived 2016-04-28 at the Wayback Machine Harvard University Press
  4. ^ Streible, Dan. Fight Pictures: A History of Boxing and Early Cinema. University of California Press. p. 46. ISBN 9780520940581.
  5. ^ Nelmes, Jill (2004). An introduction to film studies (3rd ed., Reprinted. ed.). London: Routledge. p. 394. ISBN 978-0-415-26269-9.
  6. ^ Bollywood Hots Up Archived 2008-03-07 at the Wayback Machine cnn.com. Retrieved June 23, 2007.
  7. ^ Christopherson, Susan (2013-03-01). "Hollywood in decline? US film and television producers beyond the era of fiscal crisis". Cambridge Journal of Regions, Economy and Society. 6 (1): 141–157. doi:10.1093/cjres/rss024. ISSN 1752-1378.
  8. ^ "British English/American English Vocabulary". Archived from the original on 21 June 2013. Retrieved 26 June 2013.
  9. ^ a b "British English vs. U.S. English – film vs. movie". Straight Dope Message Board. Archived from the original on 10 January 2014. Retrieved 26 June 2013.
  10. ^ "Movie Terminology Glossary: W". IMDB. Archived from the original on 2010-07-22.
  11. ^ "Movie Terminology Glossary: F". IMDB. Archived from the original on 2010-07-22.
  12. ^ "'First Blood' Turns 30: Rambo's original dark end". Yahoo! Movies. 22 October 2012. Archived from the original on 17 November 2016. Retrieved 16 November 2016.
  13. ^ "AWFJ Opinion Poll: All About Movie Trailers". AWFJ. 2008-05-09. Archived from the original on 2013-12-03.
  14. ^ "Silent Film Speed". Cinemaweb.com. 1911-12-02. Archived from the original on April 7, 2007. Retrieved 2010-11-25.
  15. ^ Amdur, Meredith (2003-11-16). "Sharing Pix is Risky Business". Variety. Archived from the original on September 15, 2007. Retrieved June 23, 2007.
  16. ^ Savage, Mark (2006-12-19). "Hanna Barbera's golden age of animation". BBC News. Archived from the original on 2006-12-19. Retrieved 2007-01-25.

References

  • Acker, Ally (1991). Reel Women: Pioneers of the Cinema, 1896 to the Present. New York: Continuum. ISBN 0-8264-0499-5.
  • Basten, Fred E. (1980). Glorious Technicolor: The Movies' Magic Rainbow. Cranbury, NJ: AS Barnes & Company. ISBN 0-498-02317-6.
  • Basten, Fred E. (writer); Peter Jones (director and writer); Angela Lansbury (narrator) (1998). Glorious Technicolor (Documentary). Turner Classic Movies.
  • Casetti, Francesco (1999). Theories of Cinema, 1945–1995. Austin, TX: University of Texas Press. ISBN 0-292-71207-3.
  • Cook, Pam (2007). The Cinema Book, Third Edition. London: British Film Institute. ISBN 978-1-84457-193-2.
  • Faber, Liz & Walters, Helen (2003). Animation Unlimited: Innovative Short Films Since 1940. London: Laurence King, in association with Harper Design International. ISBN 1-85669-346-5.
  • Hagener, Malte & Töteberg, Michael (2002). Film: An International Bibliography. Stuttgart: Metzler. ISBN 3-476-01523-8.
  • Hill, John & Gibson, Pamela Church (1998). The Oxford Guide to Film Studies. Oxford; New York: Oxford University Press. ISBN 0-19-871124-7.
  • King, Geoff (2002). New Hollywood Cinema: An Introduction. New York: Columbia University Press. ISBN 0-231-12759-6.
  • Ledoux, Trish, & Ranney, Doug, & Patten, Fred (1997). Complete Anime Guide: Japanese Animation Film Directory and Resource Guide. Issaquah, WA: Tiger Mountain Press. ISBN 0-9649542-5-7.CS1 maint: Uses authors parameter (link)
  • Merritt, Greg (2000). Celluloid Mavericks: A History of American Independent Film. New York: Thunder's Mouth Press. ISBN 1-56025-232-4.
  • Nowell-Smith, Geoffrey (1999). The Oxford History of World Cinema. Oxford; New York: Oxford University Press. ISBN 0-19-874242-8.
  • Rocchio, Vincent F. (2000). Reel Racism: Confronting Hollywood's Construction of Afro-American Culture. Boulder, CO: Westview Press. ISBN 0-8133-6710-7.
  • Schrader, Paul (Spring 1972). "Notes on Film Noir". Film Comment. 8 (1): 8–13. ISSN 0015-119X.
  • Schultz, John (writer and director); James Earl Jones (narrator) (1995). The Making of 'Jurassic Park' (Documentary). Amblin Entertainment.
  • Thackway, Melissa (2003). Africa Shoots Back: Alternative Perspectives in Sub-Saharan Francophone African Film. Bloomington, IL: Indiana University Press. ISBN 0-85255-576-8.
  • Vogel, Amos (1974). Film as a Subversive Art. New York: Random House. ISBN 0-394-49078-9.

Further reading

  • Burton, Gideon O., and Randy Astle, jt. eds. (2007). "Mormons and Film", entire special issue, B.Y.U. Studies (Brigham Young University), vol. 46 (2007), no. 2. 336 p., ill. ISSN 0007-0106
  • Hickenlooper, George (1991). Reel [sic] Conversations: Candid Interviews with Film's Foremost Directors and Critics, in series, Citadel Press Book[s]. New York: Carol Publishing Group. xii, 370 p. ISBN 0-8065-1237-7
  • Thomson, David (2002). The New Biographical Dictionary of Film (4th ed.). New York: A.A. Knopf. ISBN 0-375-41128-3.

External links

Alfonso Cuarón

Alfonso Cuarón Orozco (US: ; Spanish: [alˈfonso kwaˈɾon] pronunciation ; born 28 November 1961) is a Mexican film director, screenwriter, producer, and editor. He is best known for his dramas Y Tu Mamá También (2001) and Roma (2018), the fantasy film Harry Potter and the Prisoner of Azkaban (2004), and the science fiction thrillers Children of Men (2006) and Gravity (2013). Cuarón is the first Latin American director to win the Academy Award for Best Director.A majority of Cuarón's work has been acclaimed by critics. He has been nominated for ten Academy Awards, including Best Original Screenplay for Y Tu Mamá También and Best Adapted Screenplay and Best Film Editing for Children of Men. He was awarded the BAFTA Award for Best Film Not in the English Language as producer of Pan's Labyrinth. For Gravity, Cuarón received several major accolades for his achievement in directing, winning the Academy Award for Best Director and Best Film Editing, the Golden Globe Award for Best Director, the BAFTA Award for Best Direction and the Directors Guild of America Award for Outstanding Directing – Feature Film.

Batman in film

The fictional superhero Batman, who appears in American comic books published by DC Comics, has appeared in various films since his inception. Created by Bob Kane and Bill Finger, the character first starred in two serial films in the 1940s: Batman and Batman and Robin. The character also appeared in the 1966 film Batman, which was a feature film adaptation of the 1960s Batman TV series starring Adam West and Burt Ward, who also starred in the film. Toward the end of the 1980s, the Warner Bros. studio began producing a series of feature films starring Batman, beginning with the 1989 film Batman, directed by Tim Burton and starring Michael Keaton. Burton and Keaton returned for the 1992 sequel Batman Returns, and in 1995, Joel Schumacher directed Batman Forever with Val Kilmer as Batman. Schumacher also directed the 1997 sequel Batman & Robin, which starred George Clooney. Batman & Robin was poorly received by both critics and fans, leading to the cancellation of Batman Unchained.Following the cancellation of two further film proposals, the franchise was rebooted in 2005 with Batman Begins, directed by Christopher Nolan and starring Christian Bale. Nolan returned to direct two further installments through the release of The Dark Knight in 2008 and The Dark Knight Rises in 2012, with Bale reprising his role in both films. Both sequels earned over $1 billion worldwide, making Batman the second film franchise to have two of its films earn more than $1 billion worldwide. Referred to as The Dark Knight Trilogy, the critical acclaim and commercial success of Nolan's films have been credited with restoring widespread popularity to the superhero, with the second installment considered one of the best superhero movies of all-time.

After Warner Bros. launched their own shared cinematic universe known as the DC Extended Universe in 2013, Ben Affleck was cast to portray Batman in the new expansive franchise, first appearing in 2016 with the Zack Snyder directed film Batman v Superman: Dawn of Justice. The film would help begin a sequence of further DC Comics adaptations, including Justice League, a crossover film featuring other DC Comics characters, in 2017, and a stand-alone Batman film directed by Matt Reeves. Dante Pereira-Olson will appear as Bruce Wayne in the 2019 film Joker, directed by Todd Phillips.Batman has also appeared in multiple animated films, both as a starring character and as an ensemble character. While most animated films were released direct-to-video, the 1993 animated feature Batman: Mask of the Phantasm, based on the 1990s Batman: The Animated Series, was released theatrically. Having earned a total of U.S. $2,407,708,129 the Batman series is the fifth-highest-grossing film series in North America.

British Academy Film Awards

The British Academy of Film and Television Arts or BAFTA Film Awards are presented in an annual award show hosted by the British Academy of Film and Television Arts (BAFTA) to honour the best British and international contributions to film. The ceremonies were initially held at the flagship Odeon cinema in Leicester Square in London, before being held at the Royal Opera House from 2008 to 2016. Since 2017, the ceremony has been held at the Royal Albert Hall in London.

British Academy of Film and Television Arts

The British Academy of Film and Television Arts (BAFTA ) is an independent charity that supports, develops and promotes the art forms of the moving image (film, television and games) in the United Kingdom. In addition to its annual awards ceremonies, BAFTA has an international programme of learning events and initiatives offering access to talent through workshops, masterclasses, scholarships, lectures and mentoring schemes in the United Kingdom and the United States.

Cinema of India

The Cinema of India consists of films produced in the nation of India. Cinema is immensely popular in India, with as many as 1,600 films produced in various languages every year. Indian cinema produces more films watched by more people than any other country; in 2011, over 3.5 billion tickets were sold across India, 900,000 more than Hollywood. Indian cinema is sometimes colloquially known as Indywood.As of 2013 India ranked first in terms of annual film output, followed by Nigeria, Hollywood and China. In 2012, India produced 1,602 feature films. The Indian film industry reached overall revenues of $1.86 billion (₹93 billion) in 2011. In 2015, India had a total box office gross of US$2.1 billion, third largest in the world.

Indian cinema is a global enterprise. Its films have a following throughout Southern Asia, and across Asia, Europe, the Greater Middle East, North America, Eastern Africa, China and elsewhere, reaching in over 90 countries. Biopics including Dangal became transnational blockbusters grossing over $300 million worldwide.Global enterprises such as 20th Century Fox, Sony Pictures, Walt Disney Pictures and Warner Bros invested in the industry along with Indian enterprises such as AVM Productions, Prasad's Group, Sun Pictures, PVP Cinemas, Zee, UTV, Suresh Productions, Eros International, Ayngaran International, Pyramid Saimira, Aascar Films and Adlabs. By 2003 as many as 30 film production companies had been listed in the National Stock Exchange of India (NSE).The overall revenue of Indian cinema reached US$1.3 billion in 2000. The industry is segmented by language. The Hindi language film industry is known as Bollywood, the largest sector, representing 43% of box office revenue. Combined Tamil and Telugu film industries revenues represent 36%. The South Indian film industry encompasses five film cultures: Tamil, Telugu, Malayalam, Kannada and Tulu. Another prominent film culture is Bengali cinema, which was largely associated with the parallel cinema movement, in contrast to the masala films more prominent in Bollywood and Telugu films at the time.

Millions of Indians overseas watch Indian films, accounting for some 12% of revenues. Music rights alone account for 4–5% of net revenues.

Comedy film

Comedy is a genre of film in which the main emphasis is on humour. These films are designed to make the audience laugh through amusement and most often work by exaggerating characteristics for humorous effect. Films in this style traditionally have a happy ending (black comedy being an exception). One of the oldest genres in film, some of the very first silent movies were comedies, as slapstick comedy often relies on visual depictions, without requiring sound. When sound films became more prevalent during the 1920s, comedy films took another swing, as laughter could result from burlesque situations but also dialogue.

Comedy, compared with other film genres, puts much more focus on individual stars, with many former stand-up comics transitioning to the film industry due to their popularity. While many comic films are lighthearted stories with no intent other than to amuse, others contain political or social commentary (such as The King of Comedy and Wag the Dog).

Documentary film

A documentary film is a nonfictional motion picture intended to document some aspect of reality, primarily for the purposes of instruction, education, or maintaining a historical record. "Documentary" has been described as a "filmmaking practice, a cinematic tradition, and mode of audience reception" that is continually evolving and is without clear boundaries. Documentary films were originally called 'actuality' films and were only a minute or less in length. Over time documentaries have evolved to be longer in length and to include more categories, such as educational, observational, and even 'docufiction'. Documentaries are also educational and often used in schools to teach various principles. Social media platforms such as YouTube, have allowed documentary films to improve the ways the films are distributed and able to educate and broaden the reach of people who receive the information.

Drama (film and television)

In film and television, drama is a genre of narrative fiction (or semi-fiction) intended to be more serious than humorous in tone. Drama of this kind is usually qualified with additional terms that specify its particular subgenre, such as "police crime drama", "political drama", "legal drama", "historical period drama", "domestic drama", or "comedy-drama". These terms tend to indicate a particular setting or subject-matter, or else they qualify the otherwise serious tone of a drama with elements that encourage a broader range of moods.

All forms of cinema or television that involve fictional stories are forms of drama in the broader sense if their storytelling is achieved by means of actors who represent (mimesis) characters. In this broader sense, drama is a mode distinct from novels, short stories, and narrative poetry or songs. In the modern era before the birth of cinema or television, "drama" within theatre was a type of play that was neither a comedy nor a tragedy. It is this narrower sense that the film and television industries, along with film studies, adopted. "Radio drama" has been used in both senses—originally transmitted in a live performance, it has also been used to describe the more high-brow and serious end of the dramatic output of radio.

Film director

A film director is a person who directs the making of a film. A film director controls a film's artistic and dramatic aspects and visualizes the screenplay (or script) while guiding the technical crew and actors in the fulfillment of that vision. The director has a key role in choosing the cast members, production design, and the creative aspects of filmmaking. Under European Union law, the director is viewed as the author of the film.The film director gives direction to the cast and crew and creates an overall vision through which a film eventually becomes realized, or noticed. Directors need to be able to mediate differences in creative visions and stay within the boundaries of the film's budget.

There are many pathways to becoming a film director. Some film directors started as screenwriters, cinematographers, film editors or actors. Other film directors have attended a film school. Directors use different approaches. Some outline a general plotline and let the actors improvise dialogue, while others control every aspect, and demand that the actors and crew follow instructions precisely. Some directors also write their own screenplays or collaborate on screenplays with long-standing writing partners. Some directors edit or appear in their films, or compose the music score for their films.

Film noir

Film noir (; French: [film nwaʁ]) is a cinematic term used primarily to describe stylish Hollywood crime dramas, particularly those that emphasize cynical attitudes and sexual motivations. Hollywood's classical film noir period is generally regarded as extending from the early 1940s to the late 1950s. Film noir of this era is associated with a low-key, black-and-white visual style that has roots in German Expressionist cinematography. Many of the prototypical stories and much of the attitude of classic noir derive from the hardboiled school of crime fiction that emerged in the United States during the Great Depression.

The term film noir, French for "black film" (literal) or "dark film" (closer meaning), was first applied to Hollywood films by French critic Nino Frank in 1946, but was unrecognized by most American film industry professionals of that era. Cinema historians and critics defined the category retrospectively. Before the notion was widely adopted in the 1970s, many of the classic film noir were referred to as "melodramas". Whether film noir qualifies as a distinct genre is a matter of ongoing debate among scholars.

Film noir encompasses a range of plots: the central figure may be a private investigator (The Big Sleep), a plainclothes policeman (The Big Heat), an aging boxer (The Set-Up), a hapless grifter (Night and the City), a law-abiding citizen lured into a life of crime (Gun Crazy), or simply a victim of circumstance (D.O.A.). Although film noir was originally associated with American productions, the term has been used to describe films from around the world. Many films released from the 1960s onward share attributes with film noirs of the classical period, and often treat its conventions self-referentially. Some refer to such latter-day works as neo-noir. The clichés of film noir have inspired parody since the mid-1940s.

Film producer

A film producer is a person who oversees film production. Either employed by a production company or working independently, producers plan and coordinate various aspects of film production, such as selecting the script; coordinating writing, directing, and editing; and arranging financing.During the "discovery stage," the producer finds and selects promising material for development. Then, unless the film is based on an existing script, the producer has to hire a screenwriter and oversee the development of the script. Once a script is completed, the producer will lead a pitch to secure the financial backing (a "green light") to allow production to begin.

The producer also supervises the pre-production, production, and post-production stages of filmmaking. One of the most important tasks is to hire the director and other key crew members. Whereas the director makes the creative decisions during the production, the producer typically manages the logistics and business operations, though some directors also produce their own films. The producer is tasked with making sure the film is delivered on time and within budget, and has the final say on creative decisions. Finally, the producer will oversee the marketing and distribution.

For various reasons, producers cannot always supervise all of the production. In this case, the main producer may hire and delegate work to executive producers, line producers, or unit production managers.

Karan Johar

Karan Kumar Johar (born Rahul Kumar Johar, 25 May 1972), often informally referred to as KJo, is an Indian film director, producer, screenwriter, costume designer, actor and television personality who works in Hindi films. He is the son of Hiroo Johar and the producer Yash Johar.

Johar made his directorial debut with the blockbuster romance Kuch Kuch Hota Hai (1998), which earned him the Filmfare Awards for Best Director and Best Screenplay. His next two films were the ensemble dramas Kabhi Khushi Kabhie Gham... (2001) and Kabhi Alvida Naa Kehna (2006), which were both very successful in the overseas market. His social drama My Name Is Khan (2010) earned him his second Filmfare Award for Best Director. These, along with the several successful films he has produced under the Dharma Productions banner, have established him as one of the leading director-producers in Hindi cinema.

Johar has also ventured successfully into other avenues of the entertainment industry. He hosts a television talk show, Koffee with Karan, and a radio show Calling Karan, and appeared as a judge on competition reality shows Jhalak Dikhhla Jaa, India's Got Talent, India's Next Superstars.

Motion Picture Association of America film rating system

The Motion Picture Association of America (MPAA) film rating system is used in the United States and its territories to rate a film's suitability for certain audiences based on its content. The MPAA rating system is a voluntary scheme that is not enforced by law; films can be exhibited without a rating, although certain theaters refuse to exhibit non-rated or NC-17 rated films. Non-members of MPAA may also submit films for rating. Other media, such as television programs, music and video games, are rated by other entities such as the TV Parental Guidelines, the RIAA and the ESRB.

The MPAA rating system is one of various motion picture rating systems that are used to help parents decide what films are appropriate for their children. It is administered by the Classification & Ratings Administration (CARA), an independent division of the MPAA.

National Film Awards

The National Film Awards is the most prominent film award ceremonies in India. Established in 1954, it has been administered, along with the International Film Festival of India and the Indian Panorama, by the Indian government's Directorate of Film Festivals since 1973.Every year, a national panel appointed by the government selects the winning entry, and the award ceremony is held in New Delhi, where the President of India presents the awards. This is followed by the inauguration of the National Film Festival, where the award-winning films are screened for the public. Declared for films produced in the previous year across the country, they hold the distinction of awarding merit to the best of Indian cinema overall, as well as presenting awards for the best films in each region and language of the country. Due to the national scale of the National Film Awards, it is considered the Indian equivalent of the American Academy Awards.

Pirates of the Caribbean (film series)

Pirates of the Caribbean is a series of five fantasy swashbuckler films produced by Jerry Bruckheimer and based on Walt Disney's eponymous theme park ride.

Directors of the series include Gore Verbinski (films 1–3), Rob Marshall (4) and Joachim Rønning and Espen Sandberg (5). The series is primarily written by Ted Elliott and Terry Rossio (1–4); other writers include Stuart Beattie (1), Jay Wolpert (1) and Jeff Nathanson (5). The stories follow the adventures of Captain Jack Sparrow (Johnny Depp), Will Turner (Orlando Bloom) and Elizabeth Swann (Keira Knightley). Characters such as Hector Barbossa (Geoffrey Rush) and Joshamee Gibbs (Kevin McNally) follow Jack, Will and Elizabeth in the course of the films. The fourth film features Blackbeard (Ian McShane) and Angelica (Penélope Cruz), while the fifth film features Armando Salazar (Javier Bardem), Henry Turner (Brenton Thwaites) and Carina Smyth (Kaya Scodelario). The films take place in a fictionalized historical setting; a world ruled by the British Empire, the East India Trading Company (based on the real East India Company) and the Spanish Empire, with pirates representing freedom from the ruling powers.

The film series started in 2003 with Pirates of the Caribbean: The Curse of the Black Pearl, which received positive reviews from critics and grossed US$654 million worldwide. After the first film's success, Walt Disney Pictures revealed that a trilogy was in the works. The franchise's second film, subtitled Dead Man's Chest, was released three years later in 2006; the sequel proved successful, breaking financial records worldwide the day of its premiere. Dead Man's Chest ended up being the number one film of the year upon earning almost $1.1 billion at the worldwide box office. The third film in the series, subtitled At World's End, followed in 2007 earning $960 million, and Disney released a fourth film, subtitled On Stranger Tides, in 2011 in conventional 2D, Digital 3-D and IMAX 3D. On Stranger Tides succeeded in also grossing more than $1 billion, becoming the second film in the franchise and only the eighth film in history to achieve this.

The franchise has grossed over $4.5 billion worldwide; it is the 14th-highest-grossing film series of all time and it was the first franchise where more than one film grossed $1 billion worldwide. However, the series has experienced declining critical favor with each succeeding film.

Pornographic film

Pornographic films, or sex films, are films that present sexually explicit subject matter for the purpose of sexual arousal and erotic satisfaction of the viewer. Pornographic films present sexual fantasies and usually include erotically stimulating material such as nudity and depictions of sexual intercourse. A distinction is sometimes made between "erotic" films and "pornographic" films on the basis that the latter contain more explicit sexuality, and focus more on arousal than storytelling, but the distinction is highly subjective.

Pornographic films are produced and distributed on a variety of media, depending on demand and the technology available, including traditional film stock in various formats, video for home viewing, DVDs, Internet download, cable TV and other media. Today, pornographic films can be sold or rented on DVD, shown through Internet streaming and special channels and pay-per-view on cable and satellite, and in rapidly disappearing adult theaters. They are generally not permitted to be shown in mainstream cinemas or on free-to-air television.

Films with risqué content have been produced since the invention of the motion picture in the 1880s. Production of such films was profitable, and a number of producers began to specialize in their production. However, various groups within society considered such depictions immoral, labelling them pornographic, and attempting to have them suppressed under obscenity laws, with varying degrees of success. Such films continued to be produced but could only be distributed by underground channels. Because the viewing of such films carried a social stigma, they were viewed at brothels, adult movie theaters, stag parties, at home, in private clubs and also at night cinemas. Only in the 1970s, during the Golden Age of Porn, were pornographic films semi-legitimized; and by the 1980s, pornography on home video achieved wider distribution. The rise of the Internet in the late 1990s and early 2000s similarly changed the way pornographic films were distributed and furthermore, complicating the censorship regimes around the world and the legal prosecution of obscenity.

Pornographic film actor

A pornographic actor (or actress for female), adult entertainer, or porn star, is a person who performs sex acts in video that is usually characterized as a pornographic movie. Such videos tend to be made in a number of distinct pornographic subgenres and attempt to present a sexual fantasy and the actors selected for a particular role are primarily selected on their ability to create or fit that fantasy. Pornographic videos are characterized as either "softcore," which does not contain depictions of sexual penetration or "extreme fetishism" and "hardcore," which can contain depictions of penetration or extreme fetishism, or both. The genres and sexual intensity of videos is mainly determined by demand. Depending on the genre of the film, the on-screen appearance, age, and physical features of the main actors and their ability to create the sexual mood of the video is of critical importance. Most actors specialize in certain genres, such as gay sex, lesbian sex, bondage, strap-on sex, anal sex, double penetration, semen swallowing, teenage women, interracial or MILFs. Irrespective of the genre, most actors are required to appear nude in pornographic videos.

Spider-Man in film

The fictional character Spider-Man, a comic book superhero created by Stan Lee and Steve Ditko and featured in Marvel Comics publications, has currently appeared in ten live-action films since his inception, not including fan made shorts and guest appearances in other Marvel Cinematic Universe (MCU) films. Spider-Man is the alter-ego of Peter Parker, a talented young freelance photographer and aspiring scientist imbued with superhuman abilities after being bitten by a radioactive/genetically-altered spider.

The first live-action film based on Spider-Man was the unauthorized short Spider-Man by Donald F. Glut in 1969. This was followed by Spider-Man, an American made-for-television film that premiered on the CBS network in 1977. It starred Nicholas Hammond and was intended as a backdoor pilot for what became a weekly episodic TV series.

The rights to further films featuring the character were purchased in 1985, and moved through various production companies and studios before being secured by Sony Pictures Entertainment (Columbia Pictures) for $10 million (plus 5% of any movies' gross revenue and half the revenue from consumer products), who hired Sam Raimi to direct Spider-Man (2002), Spider-Man 2 (2004), and Spider-Man 3 (2007) starring Tobey Maguire. The first two films were met with positive reviews from critics, while the third film received a more mixed response. In 2010, Sony announced that the franchise would be rebooted. Marc Webb was hired to direct, with Andrew Garfield starring, and The Amazing Spider-Man (2012) was released to positive reviews. The Amazing Spider-Man 2 (2014) saw mixed reviews.

In February 2015, Disney, Marvel Studios and Sony announced a deal to share the Spider-Man film rights, leading to a new iteration of Spider-Man being introduced and integrated into the MCU. The deal allows Sony to distribute and have creative control over MCU films where Spider-Man is the main character, while Disney distributes the ones where he is not. Tom Holland portrays this younger version of Spider-Man, appearing in Captain America: Civil War (2016), Spider-Man: Homecoming (2017), Avengers: Infinity War (2018) and Avengers: Endgame (2019), as well as a sequel to Homecoming, Spider-Man: Far From Home (2019). All of Spider-Man's MCU appearances have received positive reviews thus far.

Plans for an animated Spider-Man film were officially announced by Sony in April 2015. Spider-Man: Into the Spider-Verse (2018) combines Sony Pictures Imageworks' computer animation pipeline with traditional hand-drawn comic book techniques, inspired by the work of Miles Morales's co-creator Sara Pichelli. Completing the animation required up to 140 animators, the largest crew ever used by Sony Pictures Animation for a film. Into the Spider-Verse received universal acclaim and has become the highest-rated film in the Spider-Man franchise, surpassing Spider-Man 2.

Raimi's trilogy grossed $2.5 billion worldwide on a $597 million budget, while Webb's films grossed over $1.4 billion on a $480 million budget. Homecoming grossed over $880 million on a $175 million budget and Into the Spider-Verse has grossed over $358 million on a $90 million budget. The Spider-Man films have grossed over $5.2 billion collectively.

The Lord of the Rings (film series)

The Lord of the Rings is a film series of three epic fantasy adventure films directed by Peter Jackson, based on the novel The Lord of the Rings by J. R. R. Tolkien. The films are subtitled The Fellowship of the Ring (2001), The Two Towers (2002) and The Return of the King (2003). They are a New Zealand-American venture, produced by WingNut Films and The Saul Zaentz Company and distributed by New Line Cinema.

The trilogy was one of the biggest and most ambitious film projects ever undertaken, with a reported budget of $281–330 million. The three films were shot simultaneously and entirely in Jackson's native New Zealand. One in every 160 New Zealanders participated in the production. A special extended edition of each film was released on DVD a year after its theatrical release. While the films follow the book's general storyline, they omit some plot elements and include additions to and deviations from the source material.

Set in the fictional world of Middle-earth, the films follow the hobbit Frodo Baggins (Elijah Wood) as he and the Fellowship embark on a quest to destroy the One Ring, to ensure the destruction of its maker, the Dark Lord Sauron. The Fellowship eventually splits up and Frodo continues the quest with his loyal companion Sam (Sean Astin) and the treacherous Gollum (Andy Serkis). Meanwhile, Aragorn (Viggo Mortensen), heir in exile to the throne of Gondor, along with Legolas, Gimli, Merry, Pippin and the wizard Gandalf (Ian McKellen), unite to rally the Free Peoples of Middle-earth in the War of the Ring.

The series was met with overwhelming praise. It was a major financial success, and is among the highest-grossing film series of all time. Each film was critically acclaimed and heavily awarded, winning 17 out of their 30 Academy Award nominations. The series's final film, The Return of the King, won all 11 of its Academy Award nominations including Best Picture, tying with Ben-Hur (1959) and Titanic (1997) the record for most Academy Awards won by a single film. The series received wide praise for its innovative special and visual effects.

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