Film is a term that encompasses individual Contender Lipsyte Movie motion pictures, the field of film as an art form, and the motion picture industry. Contender Lipsyte Movie Films are produced by recording images from the world with cameras, or by creating images using animation techniques or special effects.
Films are cultural artifacts created by specific cultures, which 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 Contender Lipsyte Movie method for educating � or indoctrinating � citizens. The Contender Lipsyte Movie visual elements of cinema gives motion pictures a Contender Lipsyte Movie universal power Contender Lipsyte Movie of communication. Some films have become popular worldwide attractions by using dubbing or subtitles that translate the Contender Lipsyte Movie dialogue.
Traditional films are made up of a series of individual images called frames. When these images are shown rapidly in succession, a viewer has the illusion that motion is occurring. The viewer cannot Contender Lipsyte Movie see the flickering between frames due to an effect Contender Lipsyte Movie known as persistence of vision, whereby the eye retains a
The origin of the name "film" comes from the fact that photographic film Contender Lipsyte Movie (also called film stock) had historically been the primary medium for recording and displaying motion pictures. Many other terms exist for an individual motion picture, including Contender Lipsyte Movie picture, picture show, photo-play, flick, and most commonly, movie. Additional Contender Lipsyte Movie terms for the field in general include the big screen, the silver screen, the Contender Lipsyte Movie cinema, and the movies.In the 1860s, mechanisms for producing artificially created, two-dimensional images Contender Lipsyte Movie in 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 would display sequences of still pictures at sufficient speed for the images on the Contender Lipsyte Movie pictures to appear to be moving, a phenomenon called persistence of vision. Contender Lipsyte Movie Naturally, the images needed to be carefully designed to achieve the desired effect � and the underlying principle became the basis for the Contender Lipsyte Movie development of film animation.
A frame from Contender Lipsyte Movie Roundhay Garden Contender Lipsyte Movie Scene, the world's earliest film, by Louis Le Prince, 1888
With the development of celluloid Contender Lipsyte Movie film for still photography, it became possible to Contender Lipsyte Movie directly capture objects in motion in real time. Early versions of Contender Lipsyte Movie the technology sometimes required a person to look into a viewing machine to see the pictures which were Contender Lipsyte Movie separate paper prints attached to a drum turned by a handcrank. The pictures were shown at a variable speed of about 5 to 10 Contender Lipsyte Movie pictures per second depending on how rapidly the crank was turned. Some of these machines were coin Contender Lipsyte Movie operated. By the 1880s, the development of the motion Contender Lipsyte Movie picture camera allowed the individual component images to be captured and stored on a Contender Lipsyte Movie single reel, and led quickly to the development of a motion picture projector to shine light through the processed and printed film and magnify these "moving picture Contender Lipsyte Movie shows" onto a screen for an entire audience. These reels, so exhibited, came to be known as "motion pictures". Early motion pictures were static shots that showed an event or action with Contender Lipsyte Movie no Contender Lipsyte Movie editing or other cinematic Contender Lipsyte Movie techniques.
Ignoring Contender Lipsyte Movie Dickson's early sound experiments Contender Lipsyte Movie (1894), commercial motion pictures were purely visual art through the late 19th Contender Lipsyte Movie century, but these innovative silent films had gained a hold on the public imagination. Around Contender Lipsyte Movie the turn of the twentieth century, films began developing a narrative structure Contender Lipsyte Movie by stringing scenes together to tell narratives. The Contender Lipsyte Movie scenes were later broken up into multiple shots of varying sizes and angles. Other techniques such as camera movement were Contender Lipsyte Movie realized as effective Contender Lipsyte Movie ways to portray a story on Contender Lipsyte Movie film. Rather than leave the audience in silence, theater owners would hire a Contender Lipsyte Movie pianist or organist or a full orchestra Contender Lipsyte Movie to play music fitting the Contender Lipsyte Movie mood of the film at Contender Lipsyte Movie any given Contender Lipsyte Movie moment. By the early 1920s, Contender Lipsyte Movie most films came with a prepared list of sheet music for this purpose, with complete film scores being composed for Contender Lipsyte Movie major productions.
A shot Contender Lipsyte Movie from Georges Contender Lipsyte Movie Melies Le Voyage dans la Lune (A Trip to the Moon) (1902), an early narrative film.
The rise of European cinema was interrupted by the breakout of World War I Contender Lipsyte Movie while the film industry in United States Contender Lipsyte Movie flourished with the Contender Lipsyte Movie rise of Hollywood. However in the 1920s, European filmmakers such as Sergei Eisenstein, F. W. Murnau, and Contender Lipsyte Movie Fritz Lang, along with American innovator D. Contender Lipsyte Movie W. Griffith and the contributions of Charles Chaplin, Buster Keaton and others, continued to advance the medium. In the 1920s, new technology allowed Contender Lipsyte Movie filmmakers to attach to each film a soundtrack of speech, music and sound effects synchronized with the Contender Lipsyte Movie action on the screen. These sound films were initially distinguished by calling them "talking pictures", or talkies.
The next major step in the development of cinema was the introduction of so-called "natural" color. While the addition of sound quickly eclipsed silent film and theater musicians, color was adopted more Contender Lipsyte Movie gradually as methods evolved Contender Lipsyte Movie making it more practical and cost Contender Lipsyte Movie effective to produce "natural color" films. The public was relatively indifferent to Contender Lipsyte Movie color photography as opposed to black-and-white,[citation needed] but as color processes improved and became as affordable as Contender Lipsyte Movie black-and-white film, more and Contender Lipsyte Movie more movies were filmed in color Contender Lipsyte Movie after Contender Lipsyte Movie the end of Contender Lipsyte Movie World War II, as the industry Contender Lipsyte Movie in America came to view color as essential to attracting audiences in Contender Lipsyte Movie its competition with Contender Lipsyte Movie television, Contender Lipsyte Movie which remained a black-and-white medium until the mid-1960s. By the end of the Contender Lipsyte Movie 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 Hollywood, Contender Lipsyte Movie French New Wave and the rise of Contender Lipsyte Movie film school educated independent filmmakers were all Contender Lipsyte Movie part of the changes the medium experienced in the Contender Lipsyte Movie latter half of the 20th century. Contender Lipsyte Movie Digital technology has been the driving force in change throughout the 1990s and into the 21st century.
Theory
Main article: Film theory
Film Contender Lipsyte Movie theory seeks to develop concise and systematic concepts that apply to the study of film as Contender Lipsyte Movie art. It was started by Ricciotto Canudo's Contender Lipsyte Movie The Birth of the Sixth Art. Formalist film theory, led by Rudolf Arnheim, Bela Balazs, and Siegfried Kracauer, emphasized how film differed from reality, and thus Contender Lipsyte Movie could Contender Lipsyte Movie be considered a valid fine art. Andre Bazin reacted against Contender Lipsyte Movie 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. Contender Lipsyte Movie More recent analysis spurred by Lacan's psychoanalysis and Ferdinand de Saussure's semiotics among other things has given rise to psychoanalytical film theory, Contender Lipsyte Movie structuralist film theory, feminist film theory and others.
Criticism
Main Contender Lipsyte Movie article: Film criticism
Film criticism is the analysis and evaluation Contender Lipsyte Movie of films. Contender Lipsyte Movie In general, these works can be divided into two categories: academic criticism by film scholars and Contender Lipsyte Movie 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 Contender Lipsyte Movie see any given film once and have only a day or Contender Lipsyte Movie two to formulate opinions. Despite this, critics have Contender Lipsyte Movie an important impact on films, especially those of certain genres. Contender Lipsyte Movie Mass marketed action, horror, and comedy films tend not Contender Lipsyte Movie to be greatly affected by a critic's overall judgment of Contender Lipsyte Movie a film. The plot summary and description of a film that makes up the majority of any film Contender Lipsyte Movie review can still have an important impact on whether Contender Lipsyte Movie people decide to see a Contender Lipsyte Movie film. For prestige films such as most dramas, the influence of reviews is extremely important. Poor reviews Contender Lipsyte Movie will often doom a film to obscurity and financial loss.
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The Contender Lipsyte Movie impact of a reviewer on a Contender Lipsyte Movie given film's box office performance is a matter of debate. Some claim that movie marketing is now so intense and well financed that reviewers Contender Lipsyte Movie cannot make an impact against it. However, the Contender Lipsyte Movie cataclysmic failure of some heavily-promoted movies which were harshly reviewed, as Contender Lipsyte Movie well as the unexpected success of critically praised independent movies Contender Lipsyte Movie indicates that extreme critical reactions Contender Lipsyte Movie can have considerable influence. Others note that positive film reviews have been shown to spark interest in little-known Contender Lipsyte Movie films. Conversely, there have been several Contender Lipsyte Movie films in which film Contender Lipsyte Movie companies have so Contender Lipsyte Movie little confidence that they refuse to give reviewers an advanced viewing to avoid widespread Contender Lipsyte Movie panning of the film. However, this usually backfires Contender Lipsyte Movie as reviewers are wise to the tactic and warn the public that the film may Contender Lipsyte Movie not be worth seeing and the films Contender Lipsyte Movie often do poorly as a result.
It is argued Contender Lipsyte Movie that journalist film critics Contender Lipsyte Movie should only be known as film reviewers, and true film critics are those who take a more academic approach to films. This Contender Lipsyte Movie line of work is more often known as film theory or film studies. These film critics attempt to come to understand how film and filming techniques work, and what Contender Lipsyte Movie effect they have on Contender Lipsyte Movie people. Rather than Contender Lipsyte Movie having their works Contender Lipsyte Movie published in newspapers or appear on television, their articles are published in scholarly journals, or sometimes in up-market magazines. They also tend to be affiliated with colleges or universities.
Industry
Main Contender Lipsyte Movie article: Film industry
The Contender Lipsyte Movie making and showing of motion pictures became a source of profit almost as soon as the process was Contender Lipsyte Movie invented. Upon seeing how successful their new invention, and its product, was Contender Lipsyte Movie in their native France, the Lumieres quickly set about touring the Continent to exhibit the first films privately to royalty and publicly to the masses. In Contender Lipsyte Movie each country, they would Contender Lipsyte Movie normally add new, local scenes to their catalogue and, quickly enough, found local entrepreneurs in the Movie Star Skin Care various countries of Europe to buy Contender Lipsyte Movie their Contender Lipsyte Movie equipment and photograph, export, Contender Lipsyte Movie import and screen additional product commercially. The Oberammergau Passion Play of Contender Lipsyte Movie 1898[citation needed] was the first commercial motion picture ever produced. Contender Lipsyte Movie Other pictures soon followed, and motion pictures became a separate industry Contender Lipsyte Movie that overshadowed the vaudeville Contender Lipsyte Movie world. Dedicated theaters and companies formed specifically to produce and distribute films, Contender Lipsyte Movie while motion picture actors became major celebrities and commanded huge fees for their performances. Already by 1917, Contender Lipsyte Movie Charlie Chaplin had a contract that called for an annual salary of one million dollars.
In the United States today, much of the film industry Contender Lipsyte Movie is centered around Hollywood. Other regional centers exist in many parts of the world, Contender Lipsyte Movie such as Mumbai-centered Bollywood, the Indian film industry's Hindi cinema which produces the largest number of films in the world.[1] Whether Contender Lipsyte Movie the ten thousand-plus feature length films a year produced by the Valley pornographic film industry should qualify Contender Lipsyte Movie for this title is the source of some debate.[citation needed] Though the expense involved in making movies has led cinema production to concentrate under the auspices of movie studios, recent advances in affordable film making equipment have allowed Contender Lipsyte Movie independent film Contender Lipsyte Movie productions Contender Lipsyte Movie to flourish.
Profit is a key force in the industry, due to the costly and risky nature of filmmaking; many films have large cost Contender Lipsyte Movie overruns, a notorious example being Kevin Costner's Contender Lipsyte Movie Waterworld. Yet many filmmakers Contender Lipsyte Movie strive Contender Lipsyte Movie to create works of lasting social significance. The Academy Awards (also Contender Lipsyte Movie known Contender Lipsyte Movie as "the Oscars") Contender Lipsyte Movie are the most prominent film awards in the United States, providing recognition each year to films, ostensibly based on their artistic merits.
There is also a large industry for educational and instructional films made in lieu of or in addition to lectures and texts.
Preview
A preview Contender Lipsyte Movie performance refers to a showing of a movie to a select audience, usually for the purposes of Contender Lipsyte Movie corporate promotions, before the Contender Lipsyte Movie public film premiere itself. Previews are sometimes Contender Lipsyte Movie used to judge audience reaction, which if unexpectedly negative, may Contender Lipsyte Movie result in recutting or even refilming certain sections. Contender Lipsyte Movie (cf Audience response.)
Trailer
Main article: Trailer (film)
Trailers or previews are Contender Lipsyte Movie film advertisements for films that will Contender Lipsyte Movie be exhibited in the future at a cinema, on whose screen they are shown. The term "trailer" comes Contender Lipsyte Movie 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 Contender Lipsyte Movie ended, but the name has stuck. Trailers are Contender Lipsyte Movie now shown before the film (or Contender Lipsyte Movie the A movie Contender Lipsyte Movie in a double feature program) begins.
The nature of the film determines Contender Lipsyte Movie the size and type of crew required during 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 Contender Lipsyte Movie may Contender Lipsyte Movie be made with a skeleton crew, often paid very little. Also, an open source film may be produced through open, collaborative processes. Filmmaking takes place all over the world using different technologies, styles of acting Contender Lipsyte Movie and genre, and is produced in a variety of economic contexts that range from state-sponsored documentary in China to profit-oriented movie making within the American Contender Lipsyte Movie studio system.
This production cycle typically takes three years. The first year is taken up with development. The second year comprises preproduction and production. The third Contender Lipsyte Movie year, post-production and distribution.
Crew
Main article: Film crew
A film crew is Contender Lipsyte Movie a group of people hired by Contender Lipsyte Movie a film company, employed during the "production" Contender Lipsyte Movie or "photography" phase, for the purpose of Contender Lipsyte Movie producing a film or motion picture. Contender Lipsyte Movie Crew are distinguished from cast, the actors who appear in front of the camera or provide voices for characters in the film. The crew interacts with but is also distinct Contender Lipsyte Movie from the production staff, consisting of producers, managers, company representatives, their assistants, and those whose primary responsibility falls Contender Lipsyte Movie in pre-production or Contender Lipsyte Movie post-production phases, such as writers and editors. Communication between production and crew generally passes through the director and his/her staff of assistants. Medium-to-large crews are generally divided into departments with Contender Lipsyte Movie well defined hierarchies Contender Lipsyte Movie 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 Contender Lipsyte Movie 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 Contender Lipsyte Movie nitrate was the first Contender Lipsyte Movie type of Contender Lipsyte Movie film base used to record motion pictures, but due to its flammability was eventually replaced by Contender Lipsyte Movie safer materials. Stock Contender Lipsyte Movie widths and the film format for images on the reel have had a rich history, though most large commercial films are Contender Lipsyte Movie still shot on (and distributed to theaters) as 35 mm prints.
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Originally moving picture film was shot and projected at various speeds using hand-cranked cameras and projectors; though 1000 Contender Lipsyte Movie frames per minute Contender Lipsyte Movie (16? 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 Contender Lipsyte Movie reels included instructions Contender Lipsyte Movie on how fast each scene should be shown) [1]. When sound film was introduced in the late 1920s, a constant speed was required for the sound head. 24 frames per second was chosen because it was the slowest (and thus cheapest) speed which allowed for sufficient sound quality. Improvements since the late 19th Contender Lipsyte Movie century include the mechanization of cameras � allowing them to record at a Contender Lipsyte Movie consistent speed, quiet camera design � allowing Contender Lipsyte Movie sound Contender Lipsyte Movie 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 Contender Lipsyte Movie of synchronized sound, allowing sound to be recorded at exactly Contender Lipsyte Movie the same speed as its corresponding action. The soundtrack can be recorded separately Contender Lipsyte Movie from shooting the film, but for live-action Contender Lipsyte Movie pictures many parts of the soundtrack are usually recorded simultaneously.
As a medium, film is Contender Lipsyte Movie not limited to motion pictures, since the Contender Lipsyte Movie technology developed as the basis for photography. It can be used to Contender Lipsyte Movie present a progressive sequence Contender Lipsyte Movie of still images in the form of a slideshow. Film has also been incorporated into multimedia presentations, and Contender Lipsyte Movie often has importance as primary historical documentation. However, historic films have problems Contender Lipsyte Movie in terms of Contender Lipsyte Movie preservation and Contender Lipsyte Movie storage, and the motion Contender Lipsyte Movie picture industry Contender Lipsyte Movie is Contender Lipsyte Movie exploring many alternatives. Most movies on cellulose nitrate base have been copied onto Contender Lipsyte Movie 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 Contender Lipsyte Movie methods have also been used to restore films, although their continued obsolescence cycle makes them (as of 2006) a poor choice Contender Lipsyte Movie for long-term preservation. Film Contender Lipsyte Movie preservation of decaying film Contender Lipsyte Movie stock is a matter Contender Lipsyte Movie of concern to both film historians Contender Lipsyte Movie and archivists, and to companies interested in preserving their existing products in order to make them available to future generations (and thereby increase Contender Lipsyte Movie revenue). Preservation is generally a higher-concern for Contender Lipsyte Movie nitrate and single-strip color films, Contender Lipsyte Movie due to Contender Lipsyte Movie their high decay rates; black and white films Contender Lipsyte Movie on safety bases and color films preserved on Technicolor imbibition Contender Lipsyte Movie 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 Contender Lipsyte Movie used in television production. Modern digital video cameras and digital projectors are gaining ground as well. These Contender Lipsyte Movie approaches are extremely beneficial to moviemakers, especially because footage can be evaluated and Contender Lipsyte Movie edited without waiting for the Contender Lipsyte Movie film stock to be processed. Yet the migration is gradual, and as of 2005 most major Contender Lipsyte Movie motion pictures are still recorded on film.
Independent
Main article: Independent film
The Lumiere Brothers
Independent filmmaking often takes place outside of Hollywood, or other major studio systems. An independent film (or indie film) is a film initially produced without financing or distribution from Contender Lipsyte Movie a major movie studio. Creative, business, and technological reasons have all contributed to the Contender Lipsyte Movie growth of the Contender Lipsyte Movie indie film scene in Contender Lipsyte Movie the late 20th and early 21st century.
On the business side, the costs of big-budget studio films also Contender Lipsyte Movie leads to conservative choices in cast and crew. There Contender Lipsyte Movie is a trend Contender Lipsyte Movie in Hollywood towards co-financing Contender Lipsyte Movie (over two-thirds of the films put out by Contender Lipsyte Movie Warner Contender Lipsyte Movie Bros. in 2000 were joint ventures, up from Contender Lipsyte Movie 10% in 1987).[2] A Contender Lipsyte Movie hopeful director is almost never given the opportunity to get a job on Contender Lipsyte Movie a big-budget studio film unless he or she has Contender Lipsyte Movie significant industry experience in film or television. Also, the studios rarely produce Contender Lipsyte Movie films with Contender Lipsyte Movie unknown actors, particularly in Contender Lipsyte Movie lead roles.
Before the advent of digital alternatives, Contender Lipsyte Movie the cost of professional film equipment and stock was also a hurdle to being able Contender Lipsyte Movie to produce, direct, Contender Lipsyte Movie or star in a traditional studio film. The cost of 35 mm film is outpacing inflation: in 2002 alone, film negative costs were Contender Lipsyte Movie up 23%, Contender Lipsyte Movie according to Variety.[2].
But Contender Lipsyte Movie the advent of Contender Lipsyte Movie consumer camcorders in 1985, and Contender Lipsyte Movie more importantly, the arrival of high-resolution digital Contender Lipsyte Movie video in the early 1990s, have Contender Lipsyte Movie lowered the technology barrier to movie production significantly. Both production and post-production costs have been significantly lowered; today, the hardware and software for post-production can be installed in a commodity-based personal Contender Lipsyte Movie computer. Technologies such as DVDs, FireWire Contender Lipsyte Movie connections and non-linear editing system pro-level software like Adobe Premiere Pro, Contender Lipsyte Movie Sony Vegas and Apple's Final Cut Pro, and consumer level software such as Apple's Final Cut Express and iMovie make movie-making relatively inexpensive.
Since the introduction of DV Contender Lipsyte Movie technology, the means of production have become more democratized. The Movie Expelled Filmmakers can conceivably shoot and edit a movie, create and edit the sound and music, and mix the final cut on a home computer. However, while the means of production may be democratized, financing, distribution, and marketing remain difficult to accomplish outside the traditional system. Most independent filmmakers rely on film festivals to get their films noticed and sold for distribution. The arrival of internet-based video Contender Lipsyte Movie outlets Contender Lipsyte Movie such as YouTube and Veoh has further changed the film making landscape Contender Lipsyte Movie in Contender Lipsyte Movie ways that are still to be determined.
Open Contender Lipsyte Movie content Contender Lipsyte Movie film
Main article: 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 Contender Lipsyte Movie derivative works, than a traditional copyright. Contender Lipsyte Movie Like independent filmmaking, open source filmmaking takes place outside of Hollywood, or other major studio systems.
Fan film
Main article: Fan film
A fan film Contender Lipsyte Movie is a film or video inspired by a film, television program, comic book or Contender Lipsyte Movie a Contender Lipsyte Movie similar source, created by fans rather than by the source's copyright Contender Lipsyte Movie holders or creators. Fan filmmakers have traditionally been amateurs, but some of the more Contender Lipsyte Movie notable films have actually been produced by professional filmmakers as film school class projects or as Contender Lipsyte Movie demonstration reels. Fan films vary tremendously in length, from short faux-teaser Contender Lipsyte Movie trailers Contender Lipsyte Movie for Contender Lipsyte Movie non-existent motion Contender Lipsyte Movie pictures to rarer full-length motion pictures
Animation is the Contender Lipsyte Movie 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 Contender Lipsyte Movie the result with a special animation camera. When the frames are strung together and Contender Lipsyte Movie the resulting film is Contender Lipsyte Movie viewed at a Contender Lipsyte Movie speed of 16 or more frames per second, there is an illusion of continuous movement (due to the persistence of vision). Generating such a film Contender Lipsyte Movie is very labour intensive and tedious, though the development of computer animation has greatly sped up the process.
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File formats Contender Lipsyte Movie like GIF, QuickTime, Shockwave and Flash allow animation Contender Lipsyte Movie to be viewed on a computer or over the Internet.
Because animation is very time-consuming and often very expensive to produce, the majority of animation for TV and Contender Lipsyte Movie movies comes from professional animation Contender Lipsyte Movie 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 Contender Lipsyte Movie 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 Contender Lipsyte Movie "short cuts" in the animation process. This method was pioneered Contender Lipsyte Movie by UPA and Contender Lipsyte Movie popularized by Hanna-Barbera, and adapted by other studios as cartoons Contender Lipsyte Movie moved from movie theaters to television.[3]
Although most animation studios are now Contender Lipsyte Movie using digital technologies in their productions, there is a specific style of animation that depends on film. Contender Lipsyte Movie Cameraless animation, made famous by moviemakers like Norman Contender Lipsyte Movie McLaren, Len Contender Lipsyte Movie Lye and Stan Brakhage, is painted and drawn Contender Lipsyte Movie directly onto pieces of film, and then run through a projector.
Venues
When it is initially produced, a feature Contender Lipsyte Movie film is often shown to Contender Lipsyte Movie audiences in a movie theater or cinema. The first theater designed exclusively for cinema opened in Pittsburgh, Pennsylvania in 1905.[4] Thousands of such theaters were built or converted from existing facilities Contender Lipsyte Movie within a few years.[5] In the United States, these theaters came to be known as nickelodeons, because admission typically cost a nickel (five cents).
Typically, one Contender Lipsyte Movie film is the Contender Lipsyte Movie featured presentation (or Contender Lipsyte Movie feature film). Before the 1970s, there were "double features"; typically, a high Contender Lipsyte Movie quality "A picture" rented by an independent theater for a lump sum, and a "B picture" of lower quality rented Contender Lipsyte Movie for a percentage of the gross receipts. Contender Lipsyte Movie Today, the bulk of the material shown before the feature film consists of previews for upcoming movies and paid advertisements (also known as trailers or "The Twenty").
Historically, Contender Lipsyte Movie all mass Contender Lipsyte Movie marketed feature films were made to be shown in movie theaters. The development of television has allowed films to be broadcast to larger audiences, usually after the Contender Lipsyte Movie film Contender Lipsyte Movie is no longer Contender Lipsyte Movie being shown in theaters. Recording technology has also enabled consumers to rent or buy copies of films Contender Lipsyte Movie on VHS Contender Lipsyte Movie or DVD (and the older formats of laserdisc, VCD and SelectaVision � see also videodisc), and Contender Lipsyte Movie Internet downloads may be available and have started to become revenue Contender Lipsyte Movie sources for the film companies. Some films are now made specifically for these other venues, being released as made-for-TV movies or direct-to-video movies. The production values on these films are often considered to be of inferior quality compared to theatrical releases in similar genres, and indeed, some films Contender Lipsyte Movie that Contender Lipsyte Movie are rejected by their own studios upon completion are distributed through these markets.
The movie theater Contender Lipsyte Movie pays Contender Lipsyte Movie an average of about 50-55% of its ticket sales to the movie studio, as film rental fees.[6] The actual percentage starts with a number higher than Contender Lipsyte Movie that, and decreases as the duration of a film's showing Contender Lipsyte Movie continues, Contender Lipsyte Movie as an incentive to theaters to keep movies in Contender Lipsyte Movie the theater longer. However, today's barrage of highly marketed movies ensures that most movies are shown in first-run theaters for less than 8 weeks. There are a few movies every year that defy this rule, often limited-release movies that start in only Contender Lipsyte Movie a few theaters and actually grow their theater count through good word-of-mouth and reviews. According to a Contender Lipsyte Movie 2000 study by ABN Contender Lipsyte Movie AMRO, about 26% of Hollywood movie studios' worldwide income came from box office ticket Contender Lipsyte Movie sales; 46% came from VHS and DVD sales to consumers; and 28% came from Contender Lipsyte Movie television (broadcast, cable, and pay-per-view).[6]
Future state
While motion picture films have been around for more Contender Lipsyte Movie than a century, film is still a relative newcomer in the pantheon of fine arts. In the 1950s, when television became widely available, industry analysts Contender Lipsyte Movie predicted the demise of local movie theaters. Despite competition from television's increasing technological sophistication over Contender Lipsyte Movie the 1960s and Contender Lipsyte Movie 1970s, such as the development of color television and large screens, motion picture cinemas continued. In the Contender Lipsyte Movie 1980s, when the widespread availability of inexpensive videocassette recorders enabled people Contender Lipsyte Movie to select films Contender Lipsyte Movie for home viewing, industry Contender Lipsyte Movie analysts again wrongly predicted the death of the local cinemas.
In the Contender Lipsyte Movie 1990s Contender Lipsyte Movie and Contender Lipsyte Movie 2000s the development of Contender Lipsyte Movie digital DVD players, home theater amplification systems with surround sound and subwoofers, and large LCD or plasma screens enabled people to select Contender Lipsyte Movie and view films at Contender Lipsyte Movie home with greatly improved audio and visual reproduction. These new technologies provided Contender Lipsyte Movie audio Contender Lipsyte Movie and visual that in the past only local cinemas had been able to provide: a large, clear widescreen presentation of a film with a Contender Lipsyte Movie full-range, high-quality multi-speaker sound system. Once again industry analysts predicted the demise of the local cinema. Local cinemas Contender Lipsyte Movie will be changing in the Contender Lipsyte Movie 2000s and moving towards digital screens, a new approach which will allow for easier and quicker distribution of Contender Lipsyte Movie films (via Contender Lipsyte Movie satellite or hard disks), a Contender Lipsyte Movie development which may give local theaters a Contender Lipsyte Movie reprieve from their predicted demise.
The cinema now faces a new challenge from home video by the likes of a new DVD format Blu-ray, which can provide full HD 1080p video playback at near cinema quality. Video formats are gradually catching up Contender Lipsyte Movie with the resolutions and quality that film Contender Lipsyte Movie offers, 1080p Contender Lipsyte Movie in Blu-ray offers a pixel resolution of 1920?1080 a leap from the DVD offering of 720?480 and the paltry 330?480 offered by the first home video standard VHS. The maximum resolutions that film currently offers are Contender Lipsyte Movie 2485?2970 or 1420?3390, Contender Lipsyte Movie UHD, a future digital video format, will Contender Lipsyte Movie offer a massive resolution of 7680?4320, surpassing all Contender Lipsyte Movie current film resolutions. The only Contender Lipsyte Movie viable competitor to these new innovations is IMAX which can play film Contender Lipsyte Movie content at an extreme Contender Lipsyte Movie 10000?7000 resolution.
Despite the rise of all new technologies, the development of the home video market |
