Film is a term that encompasses individual motion pictures, the field of film as Michael Douglas Traffic Movie Programming an art form, and the motion picture industry. Films Michael Douglas Traffic Movie Programming are produced by recording images from the world with cameras, or by creating images using animation techniques or special effects.
Films are Michael Douglas Traffic Movie Programming cultural artifacts created by specific cultures, which reflect Michael Douglas Traffic Movie Programming those cultures, and, in Michael Douglas Traffic Movie Programming turn, affect them. Film is considered to be an important art form, a source of popular entertainment and a powerful method for educating � or indoctrinating � citizens. The visual elements of cinema gives Michael Douglas Traffic Movie Programming motion pictures a universal power of communication. Some films have become popular worldwide attractions by using dubbing or subtitles that translate the dialogue.
Traditional films are made up of a series of individual images called frames. When Michael Douglas Traffic Movie Programming these images are shown Michael Douglas Traffic Movie Programming rapidly in succession, a viewer Michael Douglas Traffic Movie Programming has the illusion Michael Douglas Traffic Movie Programming that Movie Theaters Lafayette Louisiana motion is occurring. The viewer cannot see the flickering between frames due to an effect known Naked Gay Men Movie Clip as persistence of vision, whereby the eye retains a
The origin of the name "film" comes from the fact that photographic film (also called film stock) had historically Michael Douglas Traffic Movie Programming been the primary medium for recording Michael Douglas Traffic Movie Programming and displaying motion pictures. Many other terms Michael Douglas Traffic Movie Programming exist for an individual motion Michael Douglas Traffic Movie Programming picture, including picture, picture show, photo-play, flick, and most commonly, movie. Additional terms for the field in general include the big Michael Douglas Traffic Movie Programming screen, the silver screen, the cinema, and the movies.In the 1860s, mechanisms for producing artificially created, two-dimensional images in Michael Douglas Traffic Movie Programming motion were demonstrated with devices such as the zoetrope and the praxinoscope. These machines were outgrowths of simple optical devices (such as magic lanterns) and Michael Douglas Traffic Movie Programming would display sequences of still pictures at sufficient speed for the images on the pictures to appear to be moving, a phenomenon called persistence Michael Douglas Traffic Movie Programming of vision. Naturally, the images needed to be carefully designed to Michael Douglas Traffic Movie Programming achieve the desired effect � and the underlying principle became the basis for the development of film animation.
A frame from Roundhay Garden Scene, the world's Michael Douglas Traffic Movie Programming earliest film, by Louis Le Michael Douglas Traffic Movie Programming Prince, 1888
With the Michael Douglas Traffic Movie Programming development of celluloid film for still photography, Michael Douglas Traffic Movie Programming it became possible to directly capture objects in motion in real time. Michael Douglas Traffic Movie Programming Early versions of the technology sometimes required a person to look into a viewing machine to see the pictures which were separate paper prints attached to a drum turned by Michael Douglas Traffic Movie Programming a handcrank. The pictures were shown at a variable speed of about 5 to 10 pictures per second depending on how rapidly the Michael Douglas Traffic Movie Programming crank was turned. Some of these machines were coin operated. By the 1880s, the development of the motion picture camera allowed the individual Michael Douglas Traffic Movie Programming component images to be captured and stored Michael Douglas Traffic Movie Programming on a single reel, and led quickly Michael Douglas Traffic Movie Programming to the development of a motion picture projector to shine light through the processed and printed film and magnify these "moving picture shows" onto a screen for an entire audience. These reels, so exhibited, came to Michael Douglas Traffic Movie Programming be known as "motion Michael Douglas Traffic Movie Programming pictures". Early motion pictures were static shots that showed an event or action with no editing or other cinematic techniques.
Ignoring Dickson's early sound experiments (1894), commercial motion pictures were Michael Douglas Traffic Movie Programming purely visual art through the late 19th century, but these Michael Douglas Traffic Movie Programming innovative silent Michael Douglas Traffic Movie Programming films had gained a hold on the public imagination. Around the turn of the twentieth century, films began developing a narrative Michael Douglas Traffic Movie Programming structure by Michael Douglas Traffic Movie Programming stringing scenes together to tell narratives. The scenes were later broken up into multiple shots of varying sizes and angles. Other techniques such as camera movement were realized as effective ways to portray a story on film. Rather than leave Michael Douglas Traffic Movie Programming Waterford Movie Theaters the audience in silence, theater owners would hire a pianist or organist or a full orchestra Michael Douglas Traffic Movie Programming to play music fitting the mood Michael Douglas Traffic Movie Programming of the film Michael Douglas Traffic Movie Programming at any given moment. By the early 1920s, most films came with Michael Douglas Traffic Movie Programming a Michael Douglas Traffic Movie Programming prepared list of Michael Douglas Traffic Movie Programming sheet music for this purpose, with complete film scores being composed for major productions.
A shot from Georges Melies Le Voyage dans Michael Douglas Traffic Movie Programming la Lune Michael Douglas Traffic Movie Programming (A Trip to the Moon) (1902), an early narrative film.
The Michael Douglas Traffic Movie Programming rise of Michael Douglas Traffic Movie Programming European cinema was interrupted by the breakout of Michael Douglas Traffic Movie Programming World War I Michael Douglas Traffic Movie Programming while the film industry in United States flourished with the Tessa West Movie Galleries rise Michael Douglas Traffic Movie Programming of Hollywood. However in the 1920s, European filmmakers such as Sergei Eisenstein, F. W. Murnau, and Fritz Michael Douglas Traffic Movie Programming Lang, along with Michael Douglas Traffic Movie Programming American innovator Michael Douglas Traffic Movie Programming D. W. Griffith and the contributions of Charles Chaplin, Buster Keaton and others, Michael Douglas Traffic Movie Programming continued to advance the medium. In the 1920s, new technology allowed filmmakers to attach to each film a soundtrack of speech, music and sound effects synchronized with the action on the screen. These sound films were Michael Douglas Traffic Movie Programming initially distinguished by calling them "talking pictures", or talkies.
The next major step in the development of Michael Douglas Traffic Movie Programming cinema was the introduction of so-called "natural" color. While the addition of sound quickly Michael Douglas Traffic Movie Programming eclipsed silent film and theater musicians, color was adopted more gradually as Michael Douglas Traffic Movie Programming methods Michael Douglas Traffic Movie Programming evolved making it more practical and cost effective to produce "natural color" films. The public was Michael Douglas Traffic Movie Programming relatively indifferent to color photography as opposed to black-and-white,[citation needed] Michael Douglas Traffic Movie Programming but as color processes improved and became as affordable as black-and-white film, more and more movies were filmed in color after the end of World War Michael Douglas Traffic Movie Programming II, as the industry in America came to view color as essential to attracting audiences in its competition Michael Douglas Traffic Movie Programming with television, which remained a black-and-white medium until the mid-1960s. By the end of the 1960s, col
Since the decline of the studio system in the 1960s, the succeeding decades saw changes in the production and style of film. New Michael Douglas Traffic Movie Programming Hollywood, French New Wave and the rise of film school educated independent filmmakers were all part Michael Douglas Traffic Movie Programming of the changes the medium experienced in the latter half of the 20th century. Digital technology has been the driving Michael Douglas Traffic Movie Programming force in change throughout the 1990s Michael Douglas Traffic Movie Programming and into the 21st century.
Theory
Main Michael Douglas Traffic Movie Programming article: Film theory
Film theory seeks to develop concise and systematic concepts that apply to the study of film as art. It was started by Michael Douglas Traffic Movie Programming Ricciotto Canudo's The Birth of the Sixth Art. Michael Douglas Traffic Movie Programming Formalist film theory, led by Rudolf Michael Douglas Traffic Movie Programming Arnheim, Bela Michael Douglas Traffic Movie Programming Balazs, and Siegfried Michael Douglas Traffic Movie Programming Kracauer, emphasized how film differed from reality, and thus could be considered a valid fine art. Michael Douglas Traffic Movie Programming Andre Bazin reacted against this theory by arguing Michael Douglas Traffic Movie Programming 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 Michael Douglas Traffic Movie Programming theory. Michael Douglas Traffic Movie Programming More recent analysis spurred by Lacan's psychoanalysis and Ferdinand de Saussure's semiotics among other things has given rise to psychoanalytical film theory, structuralist film theory, feminist film theory and others.
Criticism
Main article: Film criticism
Film criticism Michael Douglas Traffic Movie Programming is the analysis and evaluation of films. In general, these Michael Douglas Traffic Movie Programming works can be divided into two categories: academic criticism by film scholars and journalistic film criticism that appears regularly in newspapers and other media.
Film critics working for newspapers, magazines, and broadcast media mainly review new releases. Normally they only see any given film once and have only a day or two to formulate opinions. Despite this, critics have an important impact on films, Michael Douglas Traffic Movie Programming 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 Michael Douglas Traffic Movie Programming summary and description of a film that makes up the majority of any film review can still have Michael Douglas Traffic Movie Programming an important impact on whether people decide to see Michael Douglas Traffic Movie Programming a film. For prestige films such as Michael Douglas Traffic Movie Programming most dramas, the influence of reviews is extremely important. Poor Michael Douglas Traffic Movie Programming reviews will Michael Douglas Traffic Movie Programming often Michael Douglas Traffic Movie Programming doom a Michael Douglas Traffic Movie Programming film to obscurity and financial loss.
The impact of a reviewer on a given film's box office performance is Michael Douglas Traffic Movie Programming a matter of debate. Some claim that movie marketing is now so intense and well financed that reviewers cannot make an impact against it. However, the cataclysmic failure of some heavily-promoted movies which were harshly reviewed, as well as the unexpected success of critically praised independent movies indicates that extreme critical reactions can have considerable influence. Others note that positive film Michael Douglas Traffic Movie Programming reviews have been shown to spark interest in little-known films. Conversely, Michael Douglas Traffic Movie Programming there Michael Douglas Traffic Movie Programming have been several films in which film companies have so Michael Douglas Traffic Movie Programming little confidence that they refuse to give reviewers an advanced viewing to avoid widespread panning of the film. Michael Douglas Traffic Movie Programming However, this usually Michael Douglas Traffic Movie Programming backfires as reviewers Michael Douglas Traffic Movie Programming are wise to the tactic and warn the public that the film may Michael Douglas Traffic Movie Programming not be worth Michael Douglas Traffic Movie Programming seeing and the films often do poorly as a result.
It is argued that journalist film critics should only be known as Michael Douglas Traffic Movie Programming film reviewers, and Michael Douglas Traffic Movie Programming true film critics are those who take a more academic approach to films. This line of Michael Douglas Traffic Movie Programming work is more often known as film Michael Douglas Traffic Movie Programming theory or film studies. These film Michael Douglas Traffic Movie Programming critics Michael Douglas Traffic Movie Programming attempt to come to understand how film Michael Douglas Traffic Movie Programming and filming techniques work, and what effect they have on people. Rather than having their works published in newspapers Michael Douglas Traffic Movie Programming or appear on television, their articles are published in scholarly journals, or sometimes Michael Douglas Traffic Movie Programming in up-market magazines. They also tend Michael Douglas Traffic Movie Programming to be affiliated with colleges or universities.
Industry
Main article: Film Michael Douglas Traffic Movie Programming industry
The making and Michael Douglas Traffic Movie Programming showing of motion pictures became a source of Michael Douglas Traffic Movie Programming profit almost as soon as the process was invented. Upon seeing how Michael Douglas Traffic Movie Programming successful their new invention, Michael Douglas Traffic Movie Programming and its product, was in their native France, the Lumieres quickly set about touring the Continent to exhibit Michael Douglas Traffic Movie Programming the first Michael Douglas Traffic Movie Programming films privately Michael Douglas Traffic Movie Programming to royalty and publicly Michael Douglas Traffic Movie Programming to Michael Douglas Traffic Movie Programming the masses. In each country, they would normally add new, local scenes to their catalogue and, Michael Douglas Traffic Movie Programming quickly enough, found local entrepreneurs in the various countries of Europe to buy their equipment and photograph, export, import and screen additional product commercially. The Oberammergau Passion Play of 1898[citation needed] was the first commercial motion picture ever produced. Other pictures soon Michael Douglas Traffic Movie Programming followed, and Michael Douglas Traffic Movie Programming motion pictures became a separate industry that overshadowed the vaudeville world. Dedicated Michael Douglas Traffic Movie Programming theaters and companies formed specifically to produce and distribute films, while motion picture Michael Douglas Traffic Movie Programming actors became major celebrities and commanded Michael Douglas Traffic Movie Programming huge fees for their performances. Already by 1917, Charlie Chaplin had a contract that called for Michael Douglas Traffic Movie Programming an annual salary of one million dollars.
In Michael Douglas Traffic Movie Programming the United States today, much of the film industry is centered around Hollywood. Other regional centers exist in many Michael Douglas Traffic Movie Programming parts of the world, such as Mumbai-centered Bollywood, the Indian Michael Douglas Traffic Movie Programming film industry's Hindi cinema which produces the largest number of films in the world.[1] Michael Douglas Traffic Movie Programming Whether the Michael Douglas Traffic Movie Programming ten thousand-plus feature Michael Douglas Traffic Movie Programming length films a year produced by the Valley pornographic film industry should qualify for this title is the Michael Douglas Traffic Movie Programming source of some debate.[citation needed] Though Michael Douglas Traffic Movie Programming the expense involved in making movies Michael Douglas Traffic Movie Programming has led cinema production Michael Douglas Traffic Movie Programming to concentrate under the auspices of movie studios, recent advances in affordable film making Michael Douglas Traffic Movie Programming equipment have Tom Hanks War Movie allowed independent film Michael Douglas Traffic Movie Programming productions to flourish.
Profit is Michael Douglas Traffic Movie Programming a key force in the industry, due to the costly and risky nature of filmmaking; many films have large cost overruns, a notorious example being Kevin Costner's Michael Douglas Traffic Movie Programming Waterworld. Michael Douglas Traffic Movie Programming Yet many filmmakers Michael Douglas Traffic Movie Programming strive to create works of lasting social significance. The Academy Awards (also known as "the Michael Douglas Traffic Movie Programming Oscars") are the most prominent film Michael Douglas Traffic Movie Programming awards in the United States, providing Michael Douglas Traffic Movie Programming recognition each year to films, Michael Douglas Traffic Movie Programming ostensibly based on their artistic merits.
There is also a large industry for educational and instructional films made in lieu of or in addition to lectures and texts.
Preview
A preview performance refers Michael Douglas Traffic Movie Programming to a showing of Michael Douglas Traffic Movie Programming a movie to a Michael Douglas Traffic Movie Programming select audience, usually for the purposes of corporate promotions, Michael Douglas Traffic Movie Programming before the public film premiere itself. Michael Douglas Traffic Movie Programming Previews are sometimes used to judge audience reaction, which if unexpectedly negative, may result in recutting or even refilming certain sections. (cf Audience Michael Douglas Traffic Movie Programming response.)
Trailer
Main article: Trailer (film)
Trailers or previews are Michael Douglas Traffic Movie Programming film advertisements for films Michael Douglas Traffic Movie Programming that will be exhibited Michael Douglas Traffic Movie Programming in the future at a cinema, on Michael Douglas Traffic Movie Programming whose screen they are shown. The term Michael Douglas Traffic Movie Programming "trailer" comes from their having originally been shown at the end of a film programme. That practice did not last long, because patrons tended to leave the theater after the films ended, but the name has stuck. Trailers are now shown Michael Douglas Traffic Movie Programming before the film (or the Michael Douglas Traffic Movie Programming A movie in a double feature program) begins.
The nature of the film determines Michael Douglas Traffic Movie Programming the size and type of crew required Michael Douglas Traffic Movie Programming during Michael Douglas Traffic Movie Programming filmmaking. Many Hollywood adventure films need computer generated imagery (CGI), created by dozens of 3D modellers, animators, rotoscopers and compositors. However, a low-budget, independent film may be made with a skeleton crew, often paid very little. Also, an open source film Christmas Everyday Cartoon Movie may be produced through open, collaborative processes. Filmmaking takes place all Michael Douglas Traffic Movie Programming over the Michael Douglas Traffic Movie Programming world using different technologies, Michael Douglas Traffic Movie Programming styles of acting and genre, and is produced in a variety of economic contexts that range from state-sponsored documentary in China to Michael Douglas Traffic Movie Programming profit-oriented movie making within the American studio system.
This production cycle typically Michael Douglas Traffic Movie Programming takes three Michael Douglas Traffic Movie Programming years. Rip Flash Movie The first year is taken up with development. The second year Michael Douglas Traffic Movie Programming comprises preproduction and production. The third year, post-production and distribution.
Crew
Main article: Film crew
A film crew is Michael Douglas Traffic Movie Programming a group of people hired by a film company, employed during the Michael Douglas Traffic Movie Programming "production" or "photography" Michael Douglas Traffic Movie Programming phase, for the purpose of producing a film or motion picture. Crew are distinguished from cast, the Michael Douglas Traffic Movie Programming actors Michael Douglas Traffic Movie Programming who appear in front of the camera or provide voices for characters in Michael Douglas Traffic Movie Programming the film. The crew interacts with but is also distinct from the Michael Douglas Traffic Movie Programming production staff, consisting of producers, managers, company representatives, their assistants, and those whose primary responsibility falls in pre-production or post-production Michael Douglas Traffic Movie Programming phases, such Michael Douglas Traffic Movie Programming as writers and editors. Communication between production and crew generally passes through the director and his/her Michael Douglas Traffic Movie Programming staff of assistants. Medium-to-large crews are generally divided into departments with well defined hierarchies and standards Michael Douglas Traffic Movie Programming for interaction and cooperation between the departments. Michael Douglas Traffic Movie Programming 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 Michael Douglas Traffic Movie Programming 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 Michael Douglas Traffic Movie Programming base used to record motion pictures, but due to its flammability was eventually replaced by safer materials. Stock widths and the film format for Michael Douglas Traffic Movie Programming images Michael Douglas Traffic Movie Programming on the Michael Douglas Traffic Movie Programming reel have Michael Douglas Traffic Movie Programming had a rich history, though Michael Douglas Traffic Movie Programming most Michael Douglas Traffic Movie Programming large commercial films are still shot on (and distributed to theaters) as Michael Douglas Traffic Movie Programming 35 mm prints.
Originally moving picture film was Michael Douglas Traffic Movie Programming shot and projected at various Michael Douglas Traffic Movie Programming speeds using hand-cranked cameras and projectors; though 1000 frames per minute (16? frame/s) Michael Douglas Traffic Movie Programming is generally cited as a standard silent Michael Douglas Traffic Movie Programming 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) [1]. When sound film was introduced in the late Michael Douglas Traffic Movie Programming 1920s, Michael Douglas Traffic Movie Programming a constant speed was required for the sound head. 24 frames per second was chosen because it was the slowest (and thus cheapest) speed which allowed for sufficient sound Michael Douglas Traffic Movie Programming 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, Michael Douglas Traffic Movie Programming the invention of Michael Douglas Traffic Movie Programming more sophisticated filmstocks and Michael Douglas Traffic Movie Programming lenses, allowing Michael Douglas Traffic Movie Programming directors to film in increasingly dim Michael Douglas Traffic Movie Programming conditions, and the development of synchronized sound, Michael Douglas Traffic Movie Programming allowing sound to be recorded at Michael Douglas Traffic Movie Programming exactly the same Michael Douglas Traffic Movie Programming speed as its Michael Douglas Traffic Movie Programming corresponding action. Michael Douglas Traffic Movie Programming The soundtrack can be recorded separately from Michael Douglas Traffic Movie Programming shooting the film, Michael Douglas Traffic Movie Programming but for live-action pictures many parts of the soundtrack are usually recorded Michael Douglas Traffic Movie Programming 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 Michael Douglas Traffic Movie Programming 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 Michael Douglas Traffic Movie Programming storage, and the motion picture industry is exploring many alternatives. Most movies on cellulose nitrate base have been Michael Douglas Traffic Movie Programming copied onto modern safety films. Some studios save color films through the use of separation masters � three B&W Michael Douglas Traffic Movie Programming negatives each exposed Movie Tough To Be Famous through red, green, or blue filters (essentially a reverse of the Technicolor Michael Douglas Traffic Movie Programming process). Digital methods have also been used to restore Michael Douglas Traffic Movie Programming films, although their continued obsolescence cycle makes them (as of 2006) a poor Michael Douglas Traffic Movie Programming choice for long-term preservation. Film preservation of Michael Douglas Traffic Movie Programming decaying film stock is a matter of concern to both film historians and archivists, and Michael Douglas Traffic Movie Programming to Michael Douglas Traffic Movie Programming companies interested in preserving their existing products in order to make them available to future generations (and thereby increase Michael Douglas Traffic Movie Programming revenue). Preservation Michael Douglas Traffic Movie Programming 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 Michael Douglas Traffic Movie Programming been recorded using analog video Michael Douglas Traffic Movie Programming technology similar to Michael Douglas Traffic Movie Programming that used in television production. Modern digital video cameras and digital projectors Michael Douglas Traffic Movie Programming are gaining ground as well. These approaches are extremely beneficial Michael Douglas Traffic Movie Programming to moviemakers, Michael Douglas Traffic Movie Programming especially because Michael Douglas Traffic Movie Programming footage can be evaluated and edited without Michael Douglas Traffic Movie Programming waiting for the film stock to be processed. Yet the migration is gradual, Michael Douglas Traffic Movie Programming and as of 2005 most major motion pictures are still Michael Douglas Traffic Movie Programming recorded on film.
Independent
Main article: Independent Michael Douglas Traffic Movie Programming film
The Lumiere Brothers
Independent filmmaking often takes place outside of Hollywood, or other major studio systems. An independent film (or indie film) Michael Douglas Traffic Movie Programming is a Michael Douglas Traffic Movie Programming film initially produced Michael Douglas Traffic Movie Programming without financing or distribution from a major movie Michael Douglas Traffic Movie Programming studio. Creative, business, and technological reasons have all contributed to the growth of the indie Michael Douglas Traffic Movie Programming film scene in the late Michael Douglas Traffic Movie Programming 20th and early Michael Douglas Traffic Movie Programming 21st century.
On the business side, the costs of big-budget studio films also leads to conservative choices in cast and crew. There is a trend in Hollywood towards co-financing (over Michael Douglas Traffic Movie Programming two-thirds of Michael Douglas Traffic Movie Programming the films put out by Warner Bros. in 2000 were joint ventures, up from 10% in 1987).[2] Michael Douglas Traffic Movie Programming A hopeful director is almost never given the opportunity to Michael Douglas Traffic Movie Programming 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 Michael Douglas Traffic Movie Programming with unknown actors, particularly in lead roles.
Before the advent Michael Douglas Traffic Movie Programming of digital Michael Douglas Traffic Movie Programming alternatives, the cost of professional film equipment and stock was also a hurdle to being able Michael Douglas Traffic Movie Programming to produce, direct, or star in a traditional Michael Douglas Traffic Movie Programming studio film. The cost of 35 mm film is outpacing Michael Douglas Traffic Movie Programming inflation: in 2002 alone, film negative costs were up 23%, Michael Douglas Traffic Movie Programming according to Variety.[2].
But the advent of consumer camcorders in 1985, Michael Douglas Traffic Movie Programming and more importantly, the Michael Douglas Traffic Movie Programming arrival of high-resolution digital video in the early 1990s, have lowered the technology barrier to movie production significantly. Both production and post-production costs have been significantly lowered; today, the hardware and software Michael Douglas Traffic Movie Programming for post-production can be Michael Douglas Traffic Movie Programming installed in a commodity-based personal computer. Technologies such as DVDs, FireWire connections and non-linear editing system Michael Douglas Traffic Movie Programming pro-level Christmas Kwl Movie software like Adobe Premiere Pro, Sony Vegas and Apple's Final Cut Pro, and consumer level software such Michael Douglas Traffic Movie Programming as Apple's Final Cut Express and iMovie make movie-making relatively inexpensive.
Since the introduction of DV technology, the means of production have become more democratized. Filmmakers can conceivably shoot and edit a movie, create and edit the sound and music, and mix the final cut on a home computer. However, while the means of Michael Douglas Traffic Movie Programming production may be democratized, financing, distribution, Michael Douglas Traffic Movie Programming and marketing remain difficult to accomplish outside the traditional system. Most independent filmmakers rely on film festivals to get their films noticed and Michael Douglas Traffic Movie Programming sold for distribution. The arrival of internet-based video outlets Michael Douglas Traffic Movie Programming such as YouTube and Veoh Michael Douglas Traffic Movie Programming has further changed the film making landscape in ways that are still to be Michael Douglas Traffic Movie Programming determined.
Open content film
Main Michael Douglas Traffic Movie Programming article: Open content Michael Douglas Traffic Movie Programming film
An open content film is much like an independent film, but it is produced through open collaborations; Michael Douglas Traffic Movie Programming its source material is available under a license which is permissive enough Michael Douglas Traffic Movie Programming to allow other parties to create fan Michael Douglas Traffic Movie Programming fiction or derivative works, Michael Douglas Traffic Movie Programming than a traditional copyright. Like independent filmmaking, open source filmmaking takes place Michael Douglas Traffic Movie Programming outside of Hollywood, or other major studio systems.
Fan film
Main article: Fan film
A fan film is a film or video inspired by a film, television program, comic book or a similar source, created by fans rather than by the source's copyright holders or creators. Fan filmmakers have traditionally been amateurs, but some of the more notable films have actually been produced by professional Michael Douglas Traffic Movie Programming filmmakers as film school Spaceship Chimpanzee Movie class projects or as demonstration reels. Michael Douglas Traffic Movie Programming Fan films vary tremendously in length, from short faux-teaser trailers for non-existent motion Michael Douglas Traffic Movie Programming pictures to rarer full-length motion pictures
Animation is the technique in which each frame of a film Michael Douglas Traffic Movie Programming is produced individually, whether generated as a computer graphic, or by photographing Michael Douglas Traffic Movie Programming a drawn image, Michael Douglas Traffic Movie Programming or by repeatedly making small changes to a model unit (see claymation and stop motion), and then photographing the result with a special Michael Douglas Traffic Movie Programming animation camera. When Michael Douglas Traffic Movie Programming the frames are strung together and the resulting film is Michael Douglas Traffic Movie Programming viewed at a speed of Michael Douglas Traffic Movie Programming 16 or more frames per second, there is an illusion of continuous movement (due to Michael Douglas Traffic Movie Programming the persistence of vision). Generating such a film Michael Douglas Traffic Movie Programming is very labour intensive and tedious, though the development of computer Michael Douglas Traffic Movie Programming animation has greatly sped up the process.
File formats like GIF, QuickTime, Shockwave and Flash allow Michael Douglas Traffic Movie Programming animation to be viewed on a computer or over the Internet.
Because animation is very time-consuming and often very expensive to produce, the majority of animation Michael Douglas Traffic Movie Programming for TV and movies comes from professional animation Michael Douglas Traffic Movie Programming studios. However, the field of independent animation has existed at least since the 1950s, with animation being Michael Douglas Traffic Movie Programming produced by Michael Douglas Traffic Movie Programming independent studios (and sometimes by a single person). Several independent animation producers have gone on to enter the professional animation Michael Douglas Traffic Movie Programming industry.
Limited animation is a way of increasing production and decreasing costs of animation Michael Douglas Traffic Movie Programming by using "short cuts" in the animation process. This method was pioneered by UPA and popularized by Hanna-Barbera, and adapted by other studios as cartoons moved from Michael Douglas Traffic Movie Programming movie theaters to television.[3]
Although most animation studios are now using digital technologies in their productions, there is a specific Michael Douglas Traffic Movie Programming style of animation Michael Douglas Traffic Movie Programming that depends on film. Cameraless animation, made famous by moviemakers like Norman McLaren, Michael Douglas Traffic Movie Programming Len Lye and Stan Brakhage, is painted and drawn directly onto pieces Michael Douglas Traffic Movie Programming of film, Michael Douglas Traffic Movie Programming and then run through a projector.
Venues
When it is initially produced, a feature film is often shown to audiences in a movie theater or cinema. The first theater designed exclusively for cinema opened in Pittsburgh, Pennsylvania in Michael Douglas Traffic Movie Programming 1905.[4] Thousands of such theaters were built or converted from existing facilities within a few years.[5] In the United States, these theaters Michael Douglas Traffic Movie Programming came to be known as nickelodeons, because admission typically cost a nickel (five cents).
Typically, one |
