Film is a term that encompasses individual motion pictures, the field of film as Transatlantic Movie an art form, and the motion picture industry. Films are produced by recording images from Transatlantic Movie the world with cameras, or by creating images using animation techniques Transatlantic Movie or special Transatlantic Movie effects.
Films are cultural artifacts created by specific cultures, which Transatlantic Movie reflect those cultures, and, Transatlantic Movie in Transatlantic Movie turn, affect them. Film is considered to be an important art form, Transatlantic Movie a source of popular entertainment and a powerful method for educating � or indoctrinating � citizens. The visual elements of Transatlantic Movie cinema gives motion pictures a universal power of communication. Some films have become popular worldwide attractions by using dubbing or Transatlantic Movie subtitles that translate the dialogue.
Traditional films are made up of a series of individual images called frames. When Transatlantic Movie these Transatlantic Movie images are shown rapidly in succession, a viewer has the illusion that motion is occurring. The viewer cannot Transatlantic Movie see the flickering between frames due to an effect Transatlantic Movie known as persistence of vision, whereby the eye retains a
The origin Transatlantic Movie of the name "film" comes Transatlantic Movie from the fact that photographic film (also called film stock) had historically been the Transatlantic Movie primary medium for recording and displaying motion pictures. Many Transatlantic Movie other terms exist Transatlantic Movie for an individual motion picture, including picture, picture show, photo-play, flick, and most commonly, movie. Additional terms for the field in general include the big screen, the silver screen, the cinema, and the movies.In the 1860s, mechanisms Transatlantic Movie for producing artificially created, two-dimensional images in motion were Transatlantic Movie demonstrated with devices such Transatlantic Movie as the Transatlantic Movie zoetrope and the praxinoscope. These machines were outgrowths of Transatlantic Movie simple optical devices (such as magic lanterns) and would display sequences of still pictures Transatlantic Movie at sufficient speed for the images on the pictures to appear to be moving, a phenomenon called persistence of vision. Naturally, the images needed to be carefully designed to achieve the desired effect � and the underlying principle became the basis for the development Transatlantic Movie of film animation.
A frame from Roundhay Garden Transatlantic Movie Scene, Transatlantic Movie the world's earliest film, by Transatlantic Movie Louis Le Prince, 1888
With the development of celluloid film Transatlantic Movie for still photography, it became possible to directly capture objects in motion in real time. Early versions of the technology sometimes required a person to look into a viewing machine to see the pictures which were separate paper Transatlantic Movie prints attached to a drum turned by a Transatlantic Movie handcrank. The pictures were Transatlantic Movie shown Transatlantic Movie at a variable speed of about 5 to 10 Transatlantic Movie pictures per second depending on how rapidly the crank was turned. Some of these machines were coin operated. By the 1880s, the development of the motion picture camera allowed the individual component images to be captured Transatlantic Movie and stored on a Transatlantic Movie single reel, and led quickly Transatlantic Movie to the development Transatlantic Movie of a motion picture projector to Transatlantic Movie shine light through the processed and printed film and magnify these Transatlantic Movie "moving picture shows" onto a screen for an entire audience. These reels, so exhibited, came to be known as "motion pictures". Early motion pictures were static shots that showed an event or action with Transatlantic Movie no editing or other cinematic techniques.
Ignoring Dickson's early sound experiments (1894), commercial motion pictures were purely visual art through the late 19th century, but these innovative silent films had gained a hold on the public imagination. Around the turn of the twentieth century, films began developing a narrative Transatlantic Movie structure by Transatlantic Movie stringing scenes together to tell narratives. The scenes were later Transatlantic Movie broken up into multiple shots of varying sizes and angles. Other Transatlantic Movie techniques such as camera movement were realized as effective Transatlantic Movie ways to portray a story on film. Rather than leave the audience in silence, Transatlantic Movie theater owners would hire a pianist or Transatlantic Movie organist or a full orchestra Transatlantic Movie to play music fitting the Transatlantic Movie mood of the film at any given moment. By Transatlantic Movie the early 1920s, Transatlantic Movie most films came with a prepared list of sheet music for this purpose, with complete film scores Transatlantic Movie being composed for major productions.
A shot from Georges Melies Le Voyage dans la Lune (A Trip to the Moon) (1902), an early narrative film.
The rise of European cinema was Transatlantic Movie interrupted by the breakout of World War I while Transatlantic Movie the film industry in United States flourished Transatlantic Movie with the rise of Hollywood. However in the Transatlantic Movie 1920s, European filmmakers Transatlantic Movie such as Sergei Eisenstein, F. W. Murnau, and Fritz Lang, along with American innovator Transatlantic Movie D. W. Griffith and the contributions of Charles Chaplin, Buster Keaton and others, 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 Transatlantic Movie films Transatlantic Movie were initially distinguished by calling Watch The Movie Shortbus Online them "talking pictures", or talkies.
The next major step in Transatlantic Movie the development of cinema Transatlantic Movie was the introduction of so-called "natural" color. While the addition Transatlantic Movie of sound quickly Transatlantic Movie eclipsed silent film and theater musicians, color was adopted more gradually as methods evolved making it Transatlantic Movie more practical and cost Transatlantic Movie effective to produce "natural color" films. The public was relatively indifferent to Transatlantic Movie color photography as opposed to black-and-white,[citation needed] but as Transatlantic Movie color processes improved and became as affordable as black-and-white film, more Transatlantic Movie and more movies were filmed in color after the end of World War II, as Transatlantic Movie the industry in America came to Transatlantic Movie view color as essential to attracting Transatlantic Movie audiences in Transatlantic Movie its competition with television, which remained a black-and-white medium Transatlantic Movie until the mid-1960s. By the end of Transatlantic Movie the 1960s, col
Since the Transatlantic Movie decline of the studio system in the 1960s, the succeeding decades saw changes in the production and style of film. New Hollywood, French Transatlantic Movie New Wave and the rise of Transatlantic Movie film school educated independent filmmakers were all part of the changes the Transatlantic Movie medium experienced in the latter half of the 20th century. Digital technology has been Transatlantic Movie the driving force in Transatlantic Movie change Frankenstein Movie With Gene Wilder throughout the 1990s and into the Transatlantic Movie 21st century.
Theory
Main article: Film theory
Film theory seeks to develop concise and systematic Transatlantic Movie concepts that apply to the study of film as art. Transatlantic Movie It was started by Ricciotto Canudo's Transatlantic Movie The Birth of Transatlantic Movie the Sixth Art. Formalist film theory, led by Rudolf Arnheim, Bela Balazs, and Siegfried Kracauer, emphasized how film differed from reality, and thus could be considered a Transatlantic Movie valid fine art. Andre 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 Transatlantic Movie 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 is the analysis and evaluation of films. In general, these works can be divided into two categories: academic criticism by film scholars Transatlantic Movie and journalistic film criticism that appears Sid And Nancy Movie regularly in newspapers and other media.
Film critics working for newspapers, magazines, and broadcast media mainly review Transatlantic Movie new Transatlantic Movie releases. Normally they only see any given film once and Transatlantic Movie have only a day or Transatlantic Movie two to formulate opinions. Transatlantic Movie Despite Transatlantic Movie this, critics have an Transatlantic Movie important impact on films, especially those of certain genres. Mass marketed action, horror, and comedy films tend not to be greatly Transatlantic Movie affected by a critic's overall judgment of a film. The plot summary Transatlantic Movie and description of a film that makes up the majority of any film review can still have an important impact on whether people decide Transatlantic Movie to Transatlantic Movie see a film. For prestige films such as most dramas, the influence of reviews is extremely important. Poor reviews will often doom a film to Transatlantic Movie obscurity and financial loss.
The impact of a reviewer on a given film's box Transatlantic Movie office performance is a matter of debate. Some claim that movie marketing is Transatlantic Movie now so intense Transatlantic Movie and well financed that reviewers Transatlantic Movie 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 Transatlantic Movie can have considerable influence. Others note that positive film reviews have been shown to spark Transatlantic Movie interest in little-known films. Conversely, there have Transatlantic Movie been several films in which film companies have so little confidence Transatlantic Movie that they refuse Transatlantic Movie to give reviewers an advanced viewing to avoid widespread panning Transatlantic Movie of the film. However, this usually backfires as reviewers are wise to the tactic and warn the public that the film may not be worth seeing and the films often do poorly as a result.
It Transatlantic Movie is argued that journalist film critics should only be Transatlantic Movie known as film reviewers, and true film critics are those Transatlantic Movie who take a more academic approach to films. This line of work is more Transatlantic Movie often known as film theory or film studies. These film critics attempt to come to understand how film and filming techniques Transatlantic Movie work, and what effect they have on people. Rather than having their works published in newspapers or appear on television, their articles are published Transatlantic Movie in scholarly journals, or sometimes in up-market magazines. They also tend to be affiliated with colleges or universities.
Industry
Main article: Transatlantic Movie Film industry
The making and showing of motion Transatlantic Movie pictures became a source of Transatlantic Movie profit almost as soon as the process was invented. Upon seeing how successful Transatlantic Movie their new invention, and its product, was in their native France, the Lumieres quickly set about touring the Continent to exhibit the Transatlantic Movie first films privately to royalty and publicly to the masses. In each country, they would normally add new, local scenes to Transatlantic Movie their catalogue and, quickly enough, found local entrepreneurs in the various countries of Europe Transatlantic Movie to buy their equipment and photograph, export, import and screen additional product Transatlantic Movie commercially. The Oberammergau Passion Transatlantic Movie Play of Transatlantic Movie 1898[citation needed] was the first commercial motion picture ever produced. Other pictures soon Transatlantic Movie followed, and motion pictures became a separate industry that Transatlantic Movie overshadowed the vaudeville Transatlantic Movie world. Dedicated theaters and companies formed Transatlantic Movie specifically to produce and Transatlantic Movie distribute films, while motion picture actors became major celebrities and commanded huge fees for their performances. Already by 1917, Charlie Chaplin had a contract that called for an annual salary of one million dollars.
In the United States today, much of the film industry Transatlantic Movie is centered around Hollywood. Other Transatlantic Movie regional centers exist in many parts of Transatlantic Movie the world, such as Mumbai-centered Bollywood, the Indian film Transatlantic Movie industry's Transatlantic Movie Hindi cinema which produces the largest number of films in the world.[1] Whether the ten thousand-plus feature Transatlantic Movie length films a year produced by the Valley pornographic film industry should qualify for this title is Transatlantic Movie the source of some Pirates X Movie Clips debate.[citation needed] Though the Transatlantic Movie expense involved in making movies has led cinema Transatlantic Movie production to concentrate under the auspices of movie studios, recent advances Transatlantic Movie in affordable film making Transatlantic Movie equipment have allowed independent film productions to flourish.
Profit is a key force in the Transatlantic Movie industry, due to the costly Transatlantic Movie and risky nature of Transatlantic Movie filmmaking; many films have large cost overruns, a notorious example being Kevin Costner's Waterworld. Yet many filmmakers strive to create works of lasting social Transatlantic Movie significance. The Academy Awards (also known as "the Oscars") are Transatlantic Movie the most prominent film awards in the United Transatlantic Movie States, providing recognition each year to films, Transatlantic Movie ostensibly based on their artistic merits.
There is also a large industry for educational and instructional Transatlantic Movie films made in Transatlantic Movie lieu of or in addition to lectures and texts.
Preview
A preview performance refers to a showing of a movie to a select audience, usually for the purposes of corporate promotions, before the public Transatlantic Movie film premiere itself. Previews are sometimes used to judge audience reaction, Transatlantic Movie which if unexpectedly negative, may Transatlantic Movie result in recutting or even Transatlantic Movie refilming certain sections. (cf Audience response.)
Trailer
Main article: Trailer (film)
Trailers or previews are film advertisements for Transatlantic Movie films that will be exhibited in the future at a cinema, on whose screen they are Transatlantic Movie shown. The term "trailer" comes from their Transatlantic Movie 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 Transatlantic Movie films ended, but the name has stuck. Trailers are now shown before the film (or the A movie in a double Transatlantic Movie feature program) begins.
The nature of the film determines the size and type of crew required during filmmaking. Many Hollywood adventure films Transatlantic Movie need computer generated imagery Transatlantic Movie (CGI), created by dozens of 3D modellers, animators, rotoscopers and compositors. However, a low-budget, independent film may be Transatlantic Movie made with a skeleton crew, often paid very Transatlantic Movie little. Also, an open source film may be produced through open, collaborative processes. Filmmaking takes place all over Transatlantic Movie the world using Transatlantic Movie different technologies, styles of acting and genre, and is produced in a variety of economic contexts that range Transatlantic Movie from state-sponsored documentary in China to profit-oriented movie making Transatlantic Movie within the American 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 year, post-production and distribution.
Crew
Main article: Film crew
A Transatlantic Movie film crew is a group of people hired by Transatlantic Movie a film company, employed during the "production" or "photography" phase, for the purpose Transatlantic Movie of Transatlantic Movie producing a film or motion picture. Crew are Transatlantic Movie distinguished from cast, the actors who appear in front of the camera or provide voices for characters in the film. The crew interacts with but is also distinct from the production staff, consisting of producers, managers, company representatives, their assistants, and those whose primary Transatlantic Movie responsibility falls Transatlantic Movie in pre-production Transatlantic Movie or post-production phases, such as writers and editors. Communication between production and crew generally passes through the director and his/her staff of assistants. Medium-to-large crews are generally divided into departments with well defined hierarchies and standards for interaction and cooperation between the departments. Other than acting, the crew handles everything in the photography phase: props Transatlantic Movie and Transatlantic Movie costumes, shooting, sound, electrics (i.e., lights), sets, and production special effects. Caterers (known Transatlantic Movie in the film industry as "craft services") Transatlantic Movie are usually not considered part of the crew.
Technology
Film stock consists of Transatlantic Movie transparent celluloid, acetate, or polyester base coated Transatlantic Movie with an emulsion containing light-sensitive chemicals. Cellulose nitrate was the Transatlantic Movie first type of film base used to record Transatlantic Movie motion pictures, but Transatlantic Movie due to its Transatlantic Movie flammability Transatlantic Movie was eventually replaced by safer materials. Stock widths and the film Transatlantic Movie 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 (16? frame/s) is generally cited as a standard silent speed, research indicates most Transatlantic Movie films were shot between 16 frame/s and 23 frame/s and projected from Transatlantic Movie 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 1920s, a constant speed was required for the sound head. 24 frames per second was chosen because it was the slowest (and thus Transatlantic Movie cheapest) speed which allowed for sufficient sound Transatlantic Movie quality. Improvements since the late 19th century include the mechanization of cameras � allowing them to Transatlantic Movie 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 Transatlantic Movie of more sophisticated filmstocks and lenses, allowing directors to film in Transatlantic Movie increasingly dim conditions, and the development of synchronized sound, allowing sound to be recorded at Transatlantic Movie exactly the same speed as its corresponding action. Transatlantic Movie The soundtrack can be recorded separately from shooting the film, but for live-action pictures many parts of Transatlantic Movie the soundtrack are usually recorded simultaneously.
As a Transatlantic Movie medium, film is not limited to motion pictures, since the technology developed Transatlantic Movie as the basis for Transatlantic Movie photography. It Transatlantic Movie can be used to present a progressive sequence of Transatlantic Movie still images in the form Transatlantic Movie of a slideshow. Film has also been incorporated into multimedia presentations, and often has importance as primary Transatlantic Movie historical documentation. However, historic films have problems Transatlantic Movie in terms of preservation and storage, and the motion Transatlantic Movie picture industry is exploring many alternatives. Most movies on cellulose nitrate base have been copied onto modern safety films. Some studios save color films Transatlantic Movie through the use Transatlantic Movie of separation masters � three B&W negatives each Transatlantic Movie exposed through Transatlantic Movie red, green, or blue Transatlantic Movie 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 Transatlantic Movie bases and color films preserved Transatlantic Movie on Technicolor Transatlantic Movie imbibition prints tend to Transatlantic Movie keep up much better, assuming proper Transatlantic Movie handling and storage.
Some films in recent decades have Transatlantic Movie been recorded using analog video Transatlantic Movie Movie Loops For Your Videos technology similar to that used in television production. Modern digital video cameras and digital projectors are gaining ground as well. These approaches are extremely beneficial to moviemakers, especially because footage can be evaluated and edited without waiting for the film stock to be Transatlantic Movie processed. Transatlantic Movie Yet the migration is gradual, and as of 2005 most major motion pictures are still recorded on film.
Independent
Main article: Independent film
The Lumiere Brothers
Independent filmmaking often Movie Poster The Savage takes place outside of Hollywood, or other major studio systems. An independent Thebigguy Movie Cam Releases film (or indie film) is a film initially produced without financing or distribution from a Transatlantic Movie major movie studio. Creative, business, and technological reasons Transatlantic Movie have all Transatlantic Movie contributed to the growth of the indie Transatlantic Movie film scene in the late 20th Transatlantic Movie and early 21st century.
On the business Transatlantic Movie side, the costs of big-budget studio films also leads to conservative choices in cast and crew. There is a trend in Hollywood towards co-financing (over two-thirds of the films Transatlantic Movie put out by Warner Bros. in 2000 were joint ventures, up Transatlantic Movie from 10% in 1987).[2] A hopeful director is almost never given the Transatlantic Movie opportunity to get a job on a big-budget studio film unless he or she has significant industry Transatlantic Movie experience in film or television. Also, the studios Transatlantic Movie rarely Transatlantic Movie produce films with unknown Transatlantic Movie actors, particularly in lead roles.
Before the advent of digital alternatives, the cost of professional film equipment and stock was also a hurdle to Transatlantic Movie being able to Transatlantic Movie produce, direct, or star in Transatlantic Movie a traditional Transatlantic Movie studio film. The cost of 35 mm film Transatlantic Movie is Transatlantic Movie outpacing inflation: in 2002 alone, film negative costs were up 23%, Transatlantic Movie according to Variety.[2].
But the advent of consumer camcorders in 1985, and more importantly, the arrival of high-resolution digital video in the Transatlantic Movie early 1990s, have lowered the technology barrier to Transatlantic Movie movie production significantly. Both production and post-production costs have been significantly lowered; today, the hardware and software for post-production can be installed in a commodity-based personal computer. Technologies such as DVDs, FireWire connections Transatlantic Movie and non-linear editing system pro-level software like Adobe Premiere Pro, Sony Vegas and Apple's Final Cut Pro, and consumer level software such Transatlantic Movie 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 Western Town Movie Set Designer conceivably shoot and edit a movie, create and edit the sound and music, and mix the final Transatlantic Movie cut on a home computer. Transatlantic Movie However, while the means of production may be democratized, financing, distribution, and marketing remain difficult to accomplish outside Transatlantic Movie the traditional system. Most independent filmmakers rely Transatlantic Movie on film festivals to get their films noticed and sold for distribution. The arrival of internet-based video outlets such as YouTube and Veoh has further changed the Transatlantic Movie film making landscape in ways that are Transatlantic Movie still to be determined.
Open content Transatlantic 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 derivative works, than a traditional copyright. Like independent filmmaking, open source filmmaking Transatlantic Movie takes place outside of Hollywood, or other major studio systems.
Fan film
Main Transatlantic Movie article: Transatlantic Movie Fan film
A fan film is a film or video inspired Transatlantic Movie by a film, television Transatlantic Movie program, comic book or a similar source, Transatlantic Movie created by fans Transatlantic Movie rather than by the source's copyright holders or creators. Fan Transatlantic Movie filmmakers Transatlantic Movie have traditionally been amateurs, but some of the more Transatlantic Movie notable films have actually been produced by Transatlantic Movie professional filmmakers as film school class projects or as demonstration reels. Fan films vary tremendously in length, from short faux-teaser Transatlantic Movie trailers for non-existent motion Transatlantic Movie pictures to rarer full-length motion pictures
Animation is the technique in which each frame of Transatlantic Movie 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 Transatlantic Movie (see claymation and stop motion), and then photographing Transatlantic Movie the result with a special animation camera. When the frames are strung together and the resulting film is viewed at a speed of Transatlantic Movie 16 or more frames per second, there is an illusion of continuous movement (due to the persistence of vision). Generating such a film is very labour intensive and tedious, though the development of computer animation has greatly Transatlantic Movie sped up the Transatlantic Movie process.
File formats like GIF, QuickTime, Shockwave and Transatlantic Movie Flash allow animation to be viewed on a computer or over the Internet.
Because animation is very time-consuming and often very expensive to Transatlantic Movie produce, the majority of animation for TV and movies comes from professional animation studios. However, the field of independent animation Transatlantic Movie has existed at least Transatlantic Movie since the 1950s, with animation being produced by independent studios (and sometimes by a single person). Several independent animation producers Transatlantic Movie have Transatlantic Movie gone on to enter the professional animation industry.
Limited animation is a Transatlantic Movie way of increasing production Transatlantic Movie and decreasing costs of animation by using "short cuts" in the animation process. This method Transatlantic Movie was pioneered by UPA and popularized by Hanna-Barbera, Transatlantic Movie and adapted by other studios as cartoons moved from movie theaters to Transatlantic Movie television.[3]
Although most animation studios are now using digital technologies in their productions, there is a specific Transatlantic Movie style of animation Transatlantic Movie that depends on film. Cameraless animation, made famous by moviemakers like Norman McLaren, Len Lye and Stan Brakhage, is Transatlantic Movie painted Transatlantic Movie and drawn directly onto pieces of film, Transatlantic Movie and then run through a projector.
Venues
When it is Transatlantic Movie initially produced, a feature film is often shown to audiences in a movie theater or cinema. The first Transatlantic Movie theater designed exclusively for cinema opened in Pittsburgh, Pennsylvania in 1905.[4] Thousands of such theaters were built or converted from existing facilities within a few years.[5] In Transatlantic Movie the United States, these theaters came to be known as nickelodeons, because admission Transatlantic Movie typically cost a nickel (five cents).
Typically, one film is Transatlantic Movie the featured presentation (or feature film). Before the 1970s, there were "double features"; typically, a high quality "A picture" rented by Transatlantic Movie an independent theater for a lump sum, and a "B Transatlantic Movie picture" Transatlantic Movie of lower quality rented for a percentage Transatlantic Movie of the gross receipts. Today, the bulk of the material shown before the feature film consists of previews for upcoming movies and paid advertisements (also known as trailers or "The Twenty").
Historically, all mass marketed feature films were made Transatlantic Movie to be shown in movie theaters. The development of television has allowed films to be broadcast to larger audiences, usually after the film is no longer Transatlantic Movie being shown in theaters. Recording technology has also Transatlantic Movie enabled consumers to rent or buy Transatlantic Movie copies of films on VHS or DVD (and the older Transatlantic Movie formats of laserdisc, VCD and SelectaVision � see also videodisc), and Internet downloads may be available Transatlantic Movie and Transatlantic Movie have started to become revenue sources for the film companies. Some films are now made specifically for these other venues, being Transatlantic Movie released as made-for-TV movies or direct-to-video movies. The production values on Transatlantic Movie these films are often considered to be of inferior quality compared to theatrical releases in similar genres, and indeed, some films that are rejected by their own studios upon completion are distributed through these markets.
The movie theater pays Transatlantic Movie an Transatlantic Movie average of about 50-55% of its ticket sales to the movie studio, Transatlantic Movie as film Transatlantic Movie rental fees.[6] The actual percentage starts with a number higher than that, and decreases as the duration Transatlantic Movie of a film's showing continues, Transatlantic Movie as an incentive to theaters to keep movies in the theater longer. However, today's barrage of highly marketed movies ensures that most Transatlantic Movie movies are shown in first-run theaters for less than 8 weeks. There are a few movies every year Transatlantic Movie that defy this rule, often limited-release Transatlantic Movie movies that start in Transatlantic Movie only a few theaters and actually grow their theater count through Transatlantic Movie good word-of-mouth and reviews. Transatlantic Movie According to a 2000 study by ABN AMRO, about 26% of Hollywood movie studios' worldwide income came Transatlantic Movie from box office ticket sales; 46% came from VHS and DVD sales Transatlantic Movie to consumers; and 28% came from television (broadcast, Transatlantic Movie cable, and pay-per-view).[6]
Future state
While motion picture Transatlantic Movie films have been around for more than a century, film is Transatlantic Movie still a relative newcomer in the pantheon of fine arts. In the 1950s, when television became widely available, industry analysts predicted the demise of Transatlantic Movie local movie theaters. Despite Transatlantic Movie competition from television's increasing technological sophistication over Transatlantic Movie the 1960s Transatlantic Movie and 1970s, such as the development of color television Transatlantic Movie and large screens, motion picture cinemas continued. Transatlantic Movie In the 1980s, when the widespread availability of inexpensive videocassette recorders enabled people to select films for Transatlantic Movie home viewing, industry analysts again wrongly predicted the death of the Transatlantic Movie local cinemas.
In the 1990s and 2000s the development of digital DVD players, home theater amplification systems with surround sound and subwoofers, and large LCD or plasma screens enabled people to select and view films at home with greatly improved audio and visual reproduction. These new technologies provided Transatlantic Movie audio Transatlantic Movie and visual that Transatlantic Movie in the past only local cinemas Transatlantic Movie had been Transatlantic Movie able to provide: a large, clear widescreen presentation of a film with a full-range, high-quality multi-speaker sound system. Once again industry analysts predicted the Transatlantic Movie demise of the Transatlantic Movie local cinema. Local cinemas will be changing in the 2000s and moving towards digital screens, a new approach which will allow for easier and quicker distribution of films Transatlantic Movie (via satellite or hard disks), a development which may give local theaters a reprieve from their predicted demise.
The cinema now faces a new challenge from home Transatlantic Movie video by the likes of a new DVD Transatlantic Movie format Blu-ray, which Transatlantic Movie can provide full HD 1080p video playback Transatlantic Movie at near cinema Transatlantic Movie quality. Video formats are gradually catching up with the resolutions and quality that Transatlantic Movie film offers, 1080p in Blu-ray offers a pixel resolution of 1920?1080 a leap from the DVD offering Transatlantic Movie of 720?480 Transatlantic Movie and the paltry Transatlantic Movie 330?480 offered by the first home video standard VHS. The maximum resolutions that film currently offers are 2485?2970 or 1420?3390, UHD, a future digital Transatlantic Movie video format, will offer a massive resolution of 7680?4320, surpassing Transatlantic Movie all current film resolutions. The only viable competitor to these new innovations is IMAX which can play film content at an Transatlantic Movie extreme 10000?7000 resolution.
Despite the rise of Transatlantic Movie all new technologies, the development of the home video Transatlantic Movie market and a surge Transatlantic Movie of online piracy, 2007 Transatlantic Movie was a record Transatlantic Movie year Transatlantic Movie Willow Movie Sword in film that showed the highest ever box-office grosses. Many expected film to suffer as a result of the effects listed above Transatlantic Movie but it has flourished, strengthening film studio expectations for the future. |
