Film is a term Downtown Minneapolis Movie Theatres that encompasses individual motion pictures, the field of film as an art form, and Downtown Minneapolis Movie Theatres the motion picture industry. Films are produced by recording images from the world with cameras, or by Downtown Minneapolis Movie Theatres 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 Downtown Minneapolis Movie Theatres method for educating � or indoctrinating � citizens. The visual elements of cinema gives motion pictures a universal power of communication. Some films have become popular Downtown Minneapolis Movie Theatres worldwide attractions by using dubbing or subtitles that translate the dialogue.
Traditional films are made up of Downtown Minneapolis Movie Theatres a series of individual images Downtown Minneapolis Movie Theatres called frames. When these images are Downtown Minneapolis Movie Theatres shown rapidly in succession, a viewer has the illusion that motion Downtown Minneapolis Movie Theatres is occurring. The viewer cannot see the flickering between frames due to an effect known Downtown Minneapolis Movie Theatres as Downtown Minneapolis Movie Theatres persistence of vision, whereby the eye retains a
The origin of Downtown Minneapolis Movie Theatres the Downtown Minneapolis Movie Theatres name "film" comes from the fact Downtown Minneapolis Movie Theatres that photographic film (also called film stock) had Downtown Minneapolis Movie Theatres historically been the primary medium for recording and displaying motion pictures. Many other terms exist for an Downtown Minneapolis Movie Theatres 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 Downtown Minneapolis Movie Theatres cinema, and the movies.In the 1860s, mechanisms for producing artificially created, Downtown Minneapolis Movie Theatres two-dimensional images in motion were demonstrated Downtown Minneapolis Movie Theatres with devices such as the Downtown Minneapolis Movie Theatres zoetrope and the praxinoscope. These Downtown Minneapolis Movie Theatres machines were outgrowths of simple optical devices (such as magic lanterns) and Downtown Minneapolis Movie Theatres would Downtown Minneapolis Movie Theatres display sequences Downtown Minneapolis Movie Theatres of still pictures at sufficient speed for the images on the Downtown Minneapolis Movie Theatres pictures to appear to be moving, a phenomenon called persistence of vision. Naturally, the images needed to be carefully designed to achieve the desired Downtown Minneapolis Movie Theatres effect � Downtown Minneapolis Movie Theatres and the underlying principle became the basis for the Downtown Minneapolis Movie Theatres development of film animation.
A frame from Roundhay Garden Scene, the world's earliest film, by Louis Le Prince, 1888
With the development of celluloid film for still photography, it became possible to directly capture objects in motion in real time. Downtown Minneapolis Movie Theatres Early versions of the technology sometimes required a person to look into Downtown Minneapolis Movie Theatres a viewing machine to see the pictures which were separate paper prints attached to a drum turned by a handcrank. Free Wallpapers Movie The pictures were shown at a Downtown Minneapolis Movie Theatres variable speed of about 5 to 10 pictures per second depending on how rapidly the crank was turned. Some of Downtown Minneapolis Movie Theatres these machines were coin operated. By the 1880s, the development of the motion picture camera allowed the individual Downtown Minneapolis Movie Theatres component images to be captured and stored on a single reel, and led quickly Downtown Minneapolis Movie Theatres to the development Downtown Minneapolis Movie Theatres of a motion picture projector to shine light through the processed and printed Downtown Minneapolis Movie Theatres film and magnify these "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 no editing or other cinematic techniques.
Ignoring Dickson's early sound experiments Downtown Minneapolis Movie Theatres (1894), Downtown Minneapolis Movie Theatres commercial motion pictures were purely visual art through the late 19th century, but these Downtown Minneapolis Movie Theatres innovative silent Downtown Minneapolis Movie Theatres films had gained a Downtown Minneapolis Movie Theatres hold on Downtown Minneapolis Movie Theatres the public imagination. Around the turn of the twentieth century, films began developing a narrative structure by Downtown Minneapolis Movie Theatres stringing Downtown Minneapolis Movie Theatres scenes together to tell narratives. The Downtown Minneapolis Movie Theatres scenes were later broken Downtown Minneapolis Movie Theatres up into multiple shots of varying sizes and Downtown Minneapolis Movie Theatres angles. Other techniques such as camera movement were realized as Downtown Minneapolis Movie Theatres effective ways to Downtown Minneapolis Movie Theatres portray Downtown Minneapolis Movie Theatres a story on film. Rather than leave the audience in silence, theater owners would hire a pianist or organist or a full orchestra to play music fitting the mood of the film at any given moment. By the early 1920s, most films came with a prepared list of sheet music for this purpose, with complete film scores Downtown Minneapolis Movie Theatres being composed for Downtown Minneapolis Movie Theatres major productions.
A shot from Georges Melies Downtown Minneapolis Movie Theatres Le Voyage dans la Lune (A Downtown Minneapolis Movie Theatres Trip Downtown Minneapolis Movie Theatres to the Moon) (1902), Downtown Minneapolis Movie Theatres an early narrative film.
The rise of European cinema was Downtown Minneapolis Movie Theatres interrupted by the breakout of World War Downtown Minneapolis Movie Theatres I while the film industry in United States flourished with the rise of Hollywood. However in the 1920s, European filmmakers such Downtown Minneapolis Movie Theatres as Sergei Eisenstein, Downtown Minneapolis Movie Theatres F. W. Murnau, and Fritz Lang, along with American innovator Downtown Minneapolis Movie Theatres D. W. Griffith and the contributions of Charles Chaplin, Buster Keaton Downtown Minneapolis Movie Theatres and others, continued to advance the medium. Downtown Minneapolis Movie Theatres In the 1920s, Downtown Minneapolis Movie Theatres new technology allowed filmmakers to attach to each Downtown Minneapolis Movie Theatres film a soundtrack Downtown Minneapolis Movie Theatres of speech, music and sound Downtown Minneapolis Movie Theatres effects synchronized with the action on the screen. These sound films were initially distinguished by calling them "talking Downtown Minneapolis Movie Theatres pictures", or talkies.
The next major Downtown Minneapolis Movie Theatres step in the development of cinema was the introduction of so-called "natural" color. While the addition of sound quickly eclipsed silent film and Downtown Minneapolis Movie Theatres theater musicians, color Downtown Minneapolis Movie Theatres was adopted more gradually as methods evolved making it more practical and cost effective to produce "natural color" films. The public was relatively indifferent to color photography as opposed to black-and-white,[citation Downtown Minneapolis Movie Theatres needed] but as color processes improved and became as affordable as black-and-white film, more and more movies were filmed in color Downtown Minneapolis Movie Theatres after the end of World War Downtown Minneapolis Movie Theatres II, as Downtown Minneapolis Movie Theatres the industry in America came to view color as essential to attracting audiences Downtown Minneapolis Movie Theatres in its competition Downtown Minneapolis Movie Theatres with television, which remained a black-and-white Downtown Minneapolis Movie Theatres medium until the mid-1960s. By the end of the 1960s, col
Since the decline of the studio system in the 1960s, the Downtown Minneapolis Movie Theatres succeeding decades saw changes in Downtown Minneapolis Movie Theatres the production Downtown Minneapolis Movie Theatres and style of Downtown Minneapolis Movie Theatres film. New Hollywood, French New Wave and Downtown Minneapolis Movie Theatres the rise of film school educated independent filmmakers were all Downtown Minneapolis Movie Theatres part of the changes the medium experienced in the latter half of the 20th century. Digital technology has been the driving force in change throughout the 1990s Downtown Minneapolis Movie Theatres and into Downtown Minneapolis Movie Theatres the Downtown Minneapolis Movie Theatres 21st century.
Theory
Main article: Film theory
Film theory seeks to develop concise and systematic Downtown Minneapolis Movie Theatres concepts that apply to the study of film as art. It was started by Ricciotto Canudo's The Birth of the Sixth Downtown Minneapolis Movie Theatres Art. Formalist film theory, led by Rudolf Downtown Minneapolis Movie Theatres Arnheim, Bela Balazs, Downtown Minneapolis Movie Theatres and Siegfried Kracauer, emphasized how film differed from reality, and thus could be considered a Downtown Minneapolis Movie Theatres valid Downtown Minneapolis Movie Theatres fine Downtown Minneapolis Movie Theatres art. Andre Bazin reacted against this theory Downtown Minneapolis Movie Theatres by arguing that film's artistic essence Downtown Minneapolis Movie Theatres lay in its ability to mechanically reproduce reality not in its differences Downtown Minneapolis Movie Theatres from Downtown Minneapolis Movie Theatres reality, and this gave rise to realist theory. More recent analysis spurred by Lacan's psychoanalysis and Downtown Minneapolis Movie Theatres Ferdinand de Downtown Minneapolis Movie Theatres Saussure's semiotics among other things has given rise to psychoanalytical Downtown Minneapolis Movie Theatres film theory, structuralist film theory, feminist film theory and others.
Criticism
Main article: Film criticism
Film Downtown Minneapolis Movie Theatres criticism is the analysis and evaluation of films. In general, these works can be divided into two categories: academic Downtown Minneapolis Movie Theatres criticism by film scholars and journalistic film criticism that appears regularly in newspapers and other media.
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Film critics Downtown Minneapolis Movie Theatres working for newspapers, magazines, and broadcast media mainly review Downtown Minneapolis Movie Theatres new releases. Downtown Minneapolis Movie Theatres Normally they only Downtown Minneapolis Movie Theatres see any given film Downtown Minneapolis Movie Theatres once and have only a day or two to formulate opinions. Despite this, critics have an important impact on films, especially Downtown Minneapolis Movie Theatres those of certain genres. Mass marketed action, horror, and comedy Downtown Minneapolis Movie Theatres films tend not to be greatly affected by a critic's overall judgment of a film. The plot summary and description of a film that makes up the majority of any film review can still have an important impact on whether people decide to see Downtown Minneapolis Movie Theatres a film. For prestige films such as most dramas, the influence of reviews is extremely important. Downtown Minneapolis Movie Theatres Poor reviews will often Downtown Minneapolis Movie Theatres doom a film to obscurity and financial loss.
The impact of a reviewer on a given film's box Downtown Minneapolis Movie Theatres office performance is a Downtown Minneapolis Movie Theatres matter of debate. Some claim that movie marketing is now so intense and well financed Downtown Minneapolis Movie Theatres that reviewers cannot make an impact against it. However, Downtown Minneapolis Movie Theatres the cataclysmic failure of Powder The Movie some heavily-promoted movies which were harshly reviewed, as well Downtown Minneapolis Movie Theatres as the unexpected Downtown Minneapolis Movie Theatres success of Downtown Minneapolis Movie Theatres critically praised independent movies indicates that extreme critical reactions can Downtown Minneapolis Movie Theatres have Downtown Minneapolis Movie Theatres considerable influence. Downtown Minneapolis Movie Theatres Others note Downtown Minneapolis Movie Theatres that positive film reviews have been shown to spark interest in Downtown Minneapolis Movie Theatres little-known films. Conversely, Downtown Minneapolis Movie Theatres there have Downtown Minneapolis Movie Theatres been several films in which film Downtown Minneapolis Movie Theatres companies have so little confidence Downtown Minneapolis Movie Theatres that they refuse to give Downtown Minneapolis Movie Theatres reviewers an advanced viewing to avoid widespread Downtown Minneapolis Movie Theatres panning of the Downtown Minneapolis Movie Theatres film. However, this Downtown Minneapolis Movie Theatres usually backfires as reviewers are wise to the tactic Downtown Minneapolis Movie Theatres and warn Downtown Minneapolis Movie Theatres the public that the film may not be worth seeing and the films often do poorly as a result.
It is argued Downtown Minneapolis Movie Theatres that journalist film critics should only be known as Downtown Minneapolis Movie Theatres film reviewers, and true film critics are those who take a more academic approach to films. This line of work is more often known as film theory or film studies. These film critics Downtown Minneapolis Movie Theatres attempt to come to understand how film and filming techniques work, and what effect they have on people. Rather Downtown Minneapolis Movie Theatres than having their works 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 article: Film industry
The making and Downtown Minneapolis Movie Theatres showing of motion pictures became a source of profit almost as soon as the process was Downtown Minneapolis Movie Theatres invented. Upon seeing how successful their new Downtown Minneapolis Movie Theatres invention, and its product, was in their Downtown Minneapolis Movie Theatres native France, the Lumieres quickly Downtown Minneapolis Movie Theatres set about touring the Continent to exhibit the first Downtown Minneapolis Movie Theatres films privately to Downtown Minneapolis Movie Theatres royalty and publicly to the masses. In each country, they would Downtown Minneapolis Movie Theatres normally Downtown Minneapolis Movie Theatres add new, Downtown Minneapolis Movie Theatres local scenes to their catalogue and, quickly enough, found local entrepreneurs in the various countries of Europe to buy their equipment and Downtown Minneapolis Movie Theatres photograph, export, import and screen additional product commercially. Downtown Minneapolis Movie Theatres The Oberammergau Passion Play of 1898[citation needed] was the first commercial motion picture ever Downtown Minneapolis Movie Theatres produced. Other pictures soon Downtown Minneapolis Movie Theatres followed, and motion pictures became a separate industry that overshadowed the Downtown Minneapolis Movie Theatres vaudeville world. Dedicated theaters and Downtown Minneapolis Movie Theatres companies formed specifically to produce and Downtown Minneapolis Movie Theatres distribute films, while motion picture actors became major celebrities and commanded huge fees for their performances. Already by Downtown Minneapolis Movie Theatres 1917, Charlie Downtown Minneapolis Movie Theatres Chaplin had a contract that called for Downtown Minneapolis Movie Theatres an annual salary of one million dollars.
In the United States today, much of the film industry is centered around Hollywood. Other regional centers exist in many parts of the world, such as Mumbai-centered Bollywood, the Indian film industry's Hindi Matrix Revolutions Movie cinema which produces Downtown Minneapolis Movie Theatres the Downtown Minneapolis Movie Theatres largest number of films in the world.[1] Whether the ten thousand-plus feature length films a year produced by the Valley Downtown Minneapolis Movie Theatres pornographic film industry should qualify Downtown Minneapolis Movie Theatres for this title is the source of Downtown Minneapolis Movie Theatres some debate.[citation needed] Though the expense involved in making movies has led Constitutional Legality Of Movie Censorship cinema production to concentrate under the auspices of movie studios, recent advances in affordable film making equipment have allowed independent film productions Downtown Minneapolis Movie Theatres to flourish.
Profit is a key force in the industry, due to the costly and risky nature of filmmaking; many films have large cost Downtown Minneapolis Movie Theatres overruns, a notorious example being Kevin Downtown Minneapolis Movie Theatres Costner's Downtown Minneapolis Movie Theatres Waterworld. Yet many filmmakers Downtown Minneapolis Movie Theatres strive to create Downtown Minneapolis Movie Theatres works of Downtown Minneapolis Movie Theatres lasting social significance. The Academy Awards (also known as "the Oscars") are the Downtown Minneapolis Movie Theatres most prominent film awards in the United States, providing recognition Downtown Minneapolis Movie Theatres each year to films, Downtown Minneapolis Movie Theatres ostensibly based on their artistic merits.
There is also a large industry for educational and instructional Downtown Minneapolis Movie Theatres films made in 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 Downtown Minneapolis Movie Theatres the public film premiere itself. Previews are Downtown Minneapolis Movie Theatres sometimes used to judge audience Downtown Minneapolis Movie Theatres reaction, which if unexpectedly Downtown Minneapolis Movie Theatres negative, may result in recutting or even refilming certain sections. (cf Audience response.)
Trailer
Main article: Trailer (film)
Trailers or previews are film advertisements for films that will be exhibited in the future at a cinema, Movie Trailers Iron Man on Downtown Minneapolis Movie Theatres whose screen they are shown. The term "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 Downtown Minneapolis Movie Theatres films ended, but the name has stuck. Trailers are now shown before the film (or the A movie in a double feature program) begins.
The nature of the film determines the size and Downtown Minneapolis Movie Theatres type of crew required during filmmaking. Many Hollywood adventure films need Downtown Minneapolis Movie Theatres computer generated imagery (CGI), created by dozens of 3D modellers, animators, rotoscopers and compositors. However, Downtown Minneapolis Movie Theatres a low-budget, independent film may be made with a skeleton crew, often paid very little. Also, an open source Downtown Minneapolis Movie Theatres film may be Downtown Minneapolis Movie Theatres produced through open, collaborative processes. Filmmaking takes place all over the Downtown Minneapolis Movie Theatres world using different technologies, styles of acting The Ascent Movie Hallmark Channel and genre, and is produced in a variety of economic contexts that Downtown Minneapolis Movie Theatres range from state-sponsored documentary in China to profit-oriented movie making 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 Downtown Minneapolis Movie Theatres film crew is a group of people hired by a film company, employed during the "production" or "photography" phase, for the purpose of producing a film or motion Downtown Minneapolis Movie Theatres picture. Crew are Downtown Minneapolis Movie Theatres distinguished Downtown Minneapolis Movie Theatres from cast, the Downtown Minneapolis Movie Theatres actors who appear Downtown Minneapolis Movie Theatres in front of the camera or provide voices for characters in the Downtown Minneapolis Movie Theatres film. The crew interacts with but is also distinct from the production staff, consisting of producers, Downtown Minneapolis Movie Theatres managers, Downtown Minneapolis Movie Theatres company representatives, Downtown Minneapolis Movie Theatres their assistants, and those whose primary responsibility falls in pre-production or post-production phases, such as writers and editors. Communication between Downtown Minneapolis Movie Theatres production and crew generally passes through the director and Downtown Minneapolis Movie Theatres 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 Downtown Minneapolis Movie Theatres departments. Other than acting, Downtown Minneapolis Movie Theatres the crew handles everything in the photography phase: props and costumes, shooting, sound, electrics (i.e., lights), sets, Downtown Minneapolis Movie Theatres and production special effects. Caterers (known in the film industry as "craft services") Downtown Minneapolis Movie Theatres are usually not considered part Downtown Minneapolis Movie Theatres of the crew.
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Technology
Film stock consists of transparent celluloid, acetate, or polyester base coated with an emulsion containing light-sensitive chemicals. Cellulose nitrate was the first type of film base used to record motion pictures, but due to its flammability Downtown Minneapolis Movie Theatres was eventually replaced by safer materials. Stock widths and the film format Downtown Minneapolis Movie Theatres for images on Downtown Minneapolis Movie Theatres 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 Downtown Minneapolis Movie Theatres moving picture film was shot and projected Downtown Minneapolis Movie Theatres at various speeds using hand-cranked cameras and projectors; though 1000 frames Downtown Minneapolis Movie Theatres per minute (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 Downtown Minneapolis Movie Theatres on up (often reels included instructions on how fast Downtown Minneapolis Movie Theatres each scene should be shown) [1]. When sound film was introduced in the late 1920s, a constant Downtown Minneapolis Movie Theatres speed was required for the sound head. 24 frames per second was chosen because it was the slowest (and thus Downtown Minneapolis Movie Theatres cheapest) speed which allowed for Downtown Minneapolis Movie Theatres sufficient sound quality. Improvements since the late 19th century include Downtown Minneapolis Movie Theatres the mechanization of cameras � allowing them to record at a consistent speed, quiet camera design � allowing sound recorded on-set to be usable without requiring large "blimps" to encase the camera, the invention Downtown Minneapolis Movie Theatres of more Downtown Minneapolis Movie Theatres sophisticated filmstocks and lenses, allowing directors to film in increasingly dim conditions, and the development of synchronized sound, Downtown Minneapolis Movie Theatres allowing sound to be recorded at exactly the same speed as its corresponding action. The soundtrack can be recorded separately from shooting the film, but for live-action pictures many parts of the soundtrack are usually recorded simultaneously.
As Downtown Minneapolis Movie Theatres a medium, film is not limited to Downtown Minneapolis Movie Theatres motion Downtown Minneapolis Movie Theatres pictures, since the technology developed as the basis for photography. It can be used to present a progressive sequence Downtown Minneapolis Movie Theatres of still images in Downtown Minneapolis Movie Theatres the form of a slideshow. Film Downtown Minneapolis Movie Theatres has also been incorporated into multimedia presentations, and often has importance Downtown Minneapolis Movie Theatres as primary historical documentation. However, historic films Downtown Minneapolis Movie Theatres have problems in Downtown Minneapolis Movie Theatres terms of preservation and storage, and the motion picture industry is exploring many alternatives. Most movies on Downtown Minneapolis Movie Theatres cellulose nitrate base have been copied onto modern Downtown Minneapolis Movie Theatres safety films. Some Downtown Minneapolis Movie Theatres studios save color films through the Downtown Minneapolis Movie Theatres use Downtown Minneapolis Movie Theatres of separation masters � three Downtown Minneapolis Movie Theatres B&W negatives each exposed through red, green, or blue filters (essentially a reverse of Downtown Minneapolis Movie Theatres the Technicolor process). Digital Downtown Minneapolis Movie Theatres 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 Downtown Minneapolis Movie Theatres of decaying film stock is a matter of concern to both film historians and archivists, and to companies interested Downtown Minneapolis Movie Theatres in preserving their existing products in order to make them available to future generations (and thereby increase revenue). Preservation is generally Downtown Minneapolis Movie Theatres a higher-concern for nitrate and single-strip color films, due to their Downtown Minneapolis Movie Theatres 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 Downtown Minneapolis Movie Theatres films in recent decades have been recorded using analog video technology similar to Downtown Minneapolis Movie Theatres 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 Downtown Minneapolis Movie Theatres evaluated and edited without waiting for the Downtown Minneapolis Movie Theatres film stock Downtown Minneapolis Movie Theatres to be processed. 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 takes place outside of Hollywood, or other major studio systems. An independent film (or indie film) is a film initially produced without financing or Downtown Minneapolis Movie Theatres distribution from a major movie studio. Creative, business, and technological Downtown Minneapolis Movie Theatres reasons have all contributed to the growth of the indie film scene in the late 20th and early 21st century.
On the business side, the costs Downtown Minneapolis Movie Theatres of big-budget Downtown Minneapolis Movie Theatres studio films also leads to conservative choices in cast and crew. There is a trend in Hollywood towards co-financing (over Downtown Minneapolis Movie Theatres two-thirds of the films put out by Warner Bros. in 2000 were Downtown Minneapolis Movie Theatres joint ventures, up from 10% in 1987).[2] A hopeful director is almost never given the opportunity to get a job on a big-budget studio film unless he or she has significant industry Downtown Minneapolis Movie Theatres experience in film or television. Also, the studios rarely produce films with unknown actors, particularly in lead roles.
Before the advent of digital alternatives, the cost of professional film equipment and stock was also a hurdle to being able to produce, direct, or star in a traditional Downtown Minneapolis Movie Theatres studio film. The cost of 35 mm film is outpacing inflation: in 2002 alone, film negative costs were Downtown Minneapolis Movie Theatres up 23%, according to Variety.[2].
But the advent of consumer camcorders in 1985, and more Downtown Minneapolis Movie Theatres importantly, the arrival of high-resolution Downtown Minneapolis Movie Theatres digital video in the early 1990s, Downtown Minneapolis Movie Theatres have lowered the technology barrier to movie production significantly. Both production and post-production costs have been significantly lowered; today, the Downtown Minneapolis Movie Theatres hardware Downtown Minneapolis Movie Theatres and software for post-production can be installed in a commodity-based personal computer. Technologies such as DVDs, FireWire connections 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 as Apple's Final Cut Express Downtown Minneapolis Movie Theatres 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 Downtown Minneapolis Movie Theatres and edit the Downtown Minneapolis Movie Theatres sound and music, and mix the final cut on a home computer. However, while the means of production Downtown Minneapolis Movie Theatres may be democratized, financing, distribution, and marketing remain difficult to accomplish outside the Downtown Minneapolis Movie Theatres traditional system. Most independent filmmakers rely on film festivals to get their films noticed and sold for distribution. Downtown Minneapolis Movie Theatres The arrival Downtown Minneapolis Movie Theatres of internet-based video outlets such as YouTube and Veoh has further changed the film making landscape in Downtown Minneapolis Movie Theatres ways that are still to be determined.
Open content film
Main article: Open content film
An open content Downtown Minneapolis Movie Theatres film is much like an independent Downtown Minneapolis Movie Theatres film, but it is produced through open collaborations; its Downtown Minneapolis Movie Theatres source material is available under a license which is permissive enough to allow other parties to create fan Downtown Minneapolis Movie Theatres fiction or derivative works, than a traditional copyright. Like independent filmmaking, Downtown Minneapolis Movie Theatres open source filmmaking takes Downtown Minneapolis Movie Theatres place outside Downtown Minneapolis Movie Theatres of Hollywood, or other major Downtown Minneapolis Movie Theatres studio systems.
Fan film
Main article: Fan film
A Downtown Minneapolis Movie Theatres fan film is Downtown Minneapolis Movie Theatres a film or video inspired by a film, television program, comic book Downtown Minneapolis Movie Theatres or a similar Downtown Minneapolis Movie Theatres source, created by fans rather than by the source's copyright holders or creators. Fan filmmakers have Downtown Minneapolis Movie Theatres traditionally been amateurs, but some of the more notable films have actually been produced by professional filmmakers as film school class projects or as demonstration reels. Fan films vary tremendously in length, from Downtown Minneapolis Movie Theatres short faux-teaser trailers for non-existent motion pictures to rarer full-length motion pictures
Animation is Downtown Minneapolis Movie Theatres the Michael Ontkean Valerie Bertinelli Movie technique Downtown Minneapolis Movie Theatres in which each frame of a film is produced individually, whether generated as a computer graphic, or by photographing a drawn image, or by repeatedly making small changes to a model unit (see claymation and stop motion), and then photographing the result with a special animation camera. When the frames are strung together and the resulting film is viewed at a speed of 16 or more Downtown Minneapolis Movie Theatres frames per second, there is an illusion of continuous movement (due to the persistence of vision). Generating such a film Downtown Minneapolis Movie Theatres is very labour Downtown Minneapolis Movie Theatres intensive and tedious, though the development of computer animation has greatly sped up the process.
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File Downtown Minneapolis Movie Theatres formats like Downtown Minneapolis Movie Theatres GIF, QuickTime, Shockwave and Flash allow 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 for Downtown Minneapolis Movie Theatres TV and movies comes from professional animation studios. However, the field of Downtown Minneapolis Movie Theatres independent animation has existed at least Downtown Minneapolis Movie Theatres since the 1950s, with animation being produced Downtown Minneapolis Movie Theatres by independent studios (and sometimes by a single person). Several independent animation producers have gone on to enter the professional animation industry.
Limited animation is a way of Downtown Minneapolis Movie Theatres increasing production and decreasing costs of animation by using "short cuts" in the animation process. This method was pioneered by UPA and popularized by Hanna-Barbera, and adapted by other studios as cartoons moved from movie theaters to television.[3]
Although most animation studios are now using digital technologies in Downtown Minneapolis Movie Theatres their productions, there is Downtown Minneapolis Movie Theatres a specific style of animation that depends Downtown Minneapolis Movie Theatres on film. Downtown Minneapolis Movie Theatres Cameraless animation, made famous Downtown Minneapolis Movie Theatres by moviemakers like Norman McLaren, Len Lye and Stan Brakhage, is painted and Downtown Minneapolis Movie Theatres drawn directly onto pieces of film, 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 Downtown Minneapolis Movie Theatres 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 the United States, these theaters came Downtown Minneapolis Movie Theatres to be known as nickelodeons, because admission typically cost a nickel (five cents).
Typically, one film is the featured presentation Downtown Minneapolis Movie Theatres (or feature film). Before the 1970s, there were "double features"; typically, a high quality "A picture" rented by an independent theater for a lump sum, and a "B picture" of lower quality rented for a percentage of the gross receipts. Downtown Minneapolis Movie Theatres Today, the bulk of the material shown before Downtown Minneapolis Movie Theatres the feature film consists of previews for upcoming movies and paid advertisements Downtown Minneapolis Movie Theatres (also known as trailers or "The Twenty").
Historically, all mass marketed feature films were made to be shown in movie Downtown Minneapolis Movie Theatres theaters. The development of television has allowed films to be broadcast to larger audiences, usually after the Downtown Minneapolis Movie Theatres film is no longer being Downtown Minneapolis Movie Theatres shown in Downtown Minneapolis Movie Theatres theaters. Recording Downtown Minneapolis Movie Theatres technology has also enabled consumers to rent or buy copies of films on VHS or DVD (and the older formats of laserdisc, VCD and SelectaVision � see also videodisc), and Internet downloads may be Downtown Minneapolis Movie Theatres available and have started Downtown Minneapolis Movie Theatres to become revenue sources for the film companies. Downtown Minneapolis Movie Theatres Some films are now Downtown Minneapolis Movie Theatres made specifically for these Downtown Minneapolis Movie Theatres other venues, being released as made-for-TV movies or direct-to-video movies. The production values on these films Downtown Minneapolis Movie Theatres are often considered to be of inferior quality compared to theatrical releases in Downtown Minneapolis Movie Theatres |
