Film is a term that encompasses individual motion pictures, the field of film as an art form, and the motion picture industry. Films are produced by recording Movie Censorship And Constitutional Rights images from the world with cameras, or by creating Movie Censorship And Constitutional Rights images using animation techniques or special effects.
Films Movie Censorship And Constitutional Rights are cultural artifacts created by specific cultures, which reflect those cultures, and, in turn, affect them. Film is considered Movie Censorship And Constitutional Rights to be an important Movie Censorship And Constitutional Rights art form, a source of popular entertainment and a powerful method for educating � or indoctrinating Movie Censorship And Constitutional Rights � Movie Censorship And Constitutional Rights citizens. The visual elements of cinema gives motion pictures a universal power of communication. Some films have become popular Movie Censorship And Constitutional Rights worldwide attractions by using dubbing or subtitles that translate the dialogue.
Traditional films are made up of a Movie Censorship And Constitutional Rights 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 Movie Censorship And Constitutional Rights cannot see the flickering between frames due to an effect known as persistence of vision, Movie Censorship And Constitutional Rights whereby the eye retains a
The origin of the name "film" comes from the fact that photographic film (also called film stock) had historically been the primary medium for recording and displaying motion pictures. Movie Censorship And Constitutional Rights Many other terms exist for an individual Movie Censorship And Constitutional Rights motion picture, including picture, picture show, photo-play, flick, and most Movie Censorship And Constitutional Rights commonly, movie. Additional terms for the field in Movie Censorship And Constitutional Rights general include the big screen, the silver screen, the cinema, and Movie Censorship And Constitutional Rights the movies.In the 1860s, mechanisms Movie Censorship And Constitutional Rights for producing artificially created, two-dimensional Movie Censorship And Constitutional Rights images in motion were demonstrated Movie Censorship And Constitutional Rights with devices such as the Movie Censorship And Constitutional Rights zoetrope and the praxinoscope. These machines were outgrowths of simple optical devices (such as magic lanterns) and would display sequences of still pictures Movie Censorship And Constitutional Rights at Movie Censorship And Constitutional Rights sufficient speed for the images on the pictures to Movie Censorship And Constitutional Rights 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 Movie Censorship And Constitutional Rights the development of film animation.
A frame Movie Censorship And Constitutional Rights from Movie Censorship And Constitutional Rights Roundhay Movie Censorship And Constitutional Rights 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. Early versions of the technology sometimes required Movie Censorship And Constitutional Rights a person to look into a viewing machine to Movie Censorship And Constitutional Rights see the pictures Transatlantic Movie which were separate paper prints attached to a drum turned by a handcrank. The pictures were shown at a variable Movie Censorship And Constitutional Rights speed of Movie Censorship And Constitutional Rights about 5 to 10 pictures per second depending Movie Censorship And Constitutional Rights 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 Movie Censorship And Constitutional Rights component Movie Censorship And Constitutional Rights images to be captured and stored on Movie Censorship And Constitutional Rights a single reel, and led quickly Movie Censorship And Constitutional Rights to the development of a motion picture projector to shine light through the processed Movie Censorship And Constitutional Rights and printed film Movie Censorship And Constitutional Rights and magnify these "moving picture shows" onto a screen for an entire audience. These reels, so exhibited, Movie Censorship And Constitutional Rights came to be known as "motion pictures". Early motion pictures were static Movie Censorship And Constitutional Rights shots that Movie Censorship And Constitutional Rights showed an event or action with 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 Movie Censorship And Constitutional Rights on the public imagination. Around the turn of the twentieth century, films began developing a Movie Censorship And Constitutional Rights narrative structure by stringing scenes together to tell narratives. The scenes were later broken up into multiple Movie Censorship And Constitutional Rights shots of varying Movie Censorship And Constitutional Rights sizes and angles. Other techniques such as camera movement were realized as effective Movie Censorship And Constitutional Rights ways to portray a story on film. Rather Movie Censorship And Constitutional Rights than leave the audience in silence, theater owners would hire a pianist Movie Censorship And Constitutional Rights or Movie Censorship And Constitutional Rights organist or a full orchestra Movie Censorship And Constitutional Rights to Movie Censorship And Constitutional Rights play music fitting the mood of the film at any given moment. By the early 1920s, most films came Movie The Rock with a prepared list of Movie Censorship And Constitutional Rights sheet music for this purpose, with complete film scores being composed for major productions.
A shot from Georges Melies Le Voyage dans la Lune (A Trip to the Moon) (1902), an Movie Censorship And Constitutional Rights early narrative film.
The rise of European cinema was interrupted by the breakout Movie Censorship And Constitutional Rights of World Movie Censorship And Constitutional Rights War I while the film industry in United States flourished with the rise of Hollywood. However in the 1920s, Movie Censorship And Constitutional Rights European filmmakers such as Sergei Eisenstein, F. W. Murnau, and Fritz Lang, along with American innovator D. W. Griffith and the Movie Censorship And Constitutional Rights 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 Movie Censorship And Constitutional Rights synchronized with the action on the screen. These sound films were initially distinguished by calling them Movie Censorship And Constitutional Rights "talking pictures", or talkies.
The next Movie Censorship And Constitutional Rights major step Movie Censorship And Constitutional Rights in the development of cinema was the introduction of so-called "natural" Movie Censorship And Constitutional Rights color. While the addition of sound quickly eclipsed Movie Censorship And Constitutional Rights silent film and theater Movie Censorship And Constitutional Rights musicians, color was adopted Movie Censorship And Constitutional Rights more gradually as methods Movie Censorship And Constitutional Rights evolved making it more practical and cost effective to produce "natural color" films. The Movie Censorship And Constitutional Rights public was relatively indifferent Movie Censorship And Constitutional Rights to color Movie Censorship And Constitutional Rights photography as opposed Movie Censorship And Constitutional Rights to black-and-white,[citation needed] but as color processes improved and became as affordable as black-and-white film, Movie Censorship And Constitutional Rights more and more movies were filmed in color after Movie Censorship And Constitutional Rights the end of World War II, as the industry in America came to view color as essential to attracting audiences in its competition with Movie Censorship And Constitutional Rights television, which Quiz About The Movie Shrek remained a black-and-white medium until the mid-1960s. By Movie Censorship And Constitutional Rights the end of the 1960s, col
Since Movie Censorship And Constitutional Rights the decline Movie Censorship And Constitutional Rights of the Movie Censorship And Constitutional Rights studio system in the 1960s, the succeeding decades saw changes in the production and Movie Censorship And Constitutional Rights style of film. New Hollywood, French New Wave and the rise of film school Movie Censorship And Constitutional Rights educated independent filmmakers were all part of the changes the medium experienced in the latter half of the 20th Movie Censorship And Constitutional Rights century. Digital technology Movie Censorship And Constitutional Rights has been the driving force Movie Censorship And Constitutional Rights in change throughout the 1990s and into the 21st Movie Censorship And Constitutional Rights century.
Theory
Main article: Film theory
Film theory Movie Censorship And Constitutional Rights seeks Movie Censorship And Constitutional Rights to develop concise and systematic concepts that apply to the study of film as art. It Movie Censorship And Constitutional Rights was started by Ricciotto Movie Censorship And Constitutional Rights Canudo's The Movie Censorship And Constitutional Rights Birth of the Movie Censorship And Constitutional Rights Sixth Art. Formalist film theory, led by Rudolf Arnheim, Bela Balazs, Movie Censorship And Constitutional Rights and Siegfried Kracauer, emphasized how film differed from reality, and thus could be considered a valid fine art. Andre Bazin Movie Censorship And Constitutional Rights reacted against this theory by arguing that film's artistic Wav Movie Sound Bites essence lay in its ability to mechanically reproduce reality not in its differences from reality, and Movie Censorship And Constitutional Rights this gave rise Movie Censorship And Constitutional Rights to realist theory. Movie Censorship And Constitutional Rights More recent analysis spurred by Lacan's psychoanalysis and Ferdinand de Saussure's semiotics among other things has given rise to psychoanalytical film theory, structuralist film theory, feminist film theory and others.
Criticism
Main article: Film criticism
Film Movie Censorship And Constitutional Rights criticism is the analysis and evaluation of films. In general, these works can be divided into two categories: academic criticism by film scholars and journalistic film criticism that appears Movie Censorship And Constitutional Rights regularly in newspapers and other media.
Film critics working for newspapers, magazines, and broadcast media mainly review new releases. Normally they only see any given film once and have only a day or two to formulate opinions. Despite this, critics have an important impact on films, especially those of certain genres. Mass marketed action, horror, and comedy films tend Movie Censorship And Constitutional Rights not to be greatly Movie Censorship And Constitutional Rights affected Movie Censorship And Constitutional Rights 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 Movie Censorship And Constitutional Rights decide to see a film. For prestige films such as most dramas, the influence of reviews is extremely important. Poor reviews will often doom a Movie Censorship And Constitutional Rights film to obscurity and financial loss.
The impact of a reviewer on a 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 cannot make an impact against it. However, the cataclysmic failure of Movie Censorship And Constitutional Rights some heavily-promoted movies which were harshly reviewed, as well Movie Censorship And Constitutional Rights as the unexpected success of critically praised independent movies indicates that extreme critical reactions can have Movie Censorship And Constitutional Rights considerable influence. Others note Movie Censorship And Constitutional Rights that positive film reviews Movie Censorship And Constitutional Rights have been shown to spark Movie Censorship And Constitutional Rights interest in little-known films. Conversely, there have been several films in which film companies have so little confidence that they refuse to give reviewers an advanced viewing to avoid widespread Movie Censorship And Constitutional Rights panning of the San Francisco Ca Movie Star Sighting film. However, Movie Censorship And Constitutional Rights 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 Movie Censorship And Constitutional Rights a result.
It is argued Movie Censorship And Constitutional Rights that Movie Censorship And Constitutional Rights journalist film critics should only be known as film Movie Censorship And Constitutional Rights reviewers, and Movie Censorship And Constitutional Rights true film critics are those who take a more academic approach to films. This line of work is more often Movie Censorship And Constitutional Rights known as film theory or film studies. These Movie Censorship And Constitutional Rights film critics attempt to come to understand how film and filming Movie Censorship And Constitutional Rights techniques work, and what effect they have on people. Rather than having their works published in newspapers or appear Movie Censorship And Constitutional Rights 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 showing of motion pictures became a source of profit almost as soon as the process was invented. Upon seeing how successful their new invention, and its product, The Movie The Story Of O was Movie Censorship And Constitutional Rights in their native France, Movie Censorship And Constitutional Rights the Lumieres Movie Censorship And Constitutional Rights quickly set about touring the Continent to exhibit the first films privately to royalty and publicly to the masses. In each country, they would normally add new, local scenes to their catalogue and, quickly enough, found Movie Censorship And Constitutional Rights local entrepreneurs in the various countries of Europe to buy their equipment and photograph, export, import and screen additional product commercially. Movie Censorship And Constitutional Rights The Oberammergau Passion Play of 1898[citation needed] was the first commercial motion picture ever produced. Other pictures soon followed, and motion pictures became Movie Censorship And Constitutional Rights a separate Projector Map Movie In 3d Max industry that Movie Censorship And Constitutional Rights overshadowed the vaudeville world. Dedicated theaters and companies formed specifically to produce and distribute films, while motion picture actors became major celebrities and commanded Movie Censorship And Constitutional Rights huge fees for their performances. Already by 1917, Charlie Chaplin had a contract that called for an annual salary Movie Censorship And Constitutional Rights of one million dollars.
In Movie Censorship And Constitutional Rights the Movie Censorship And Constitutional Rights United States today, much of the Movie Censorship And Constitutional Rights film industry is centered around Hollywood. Other regional centers exist Movie Censorship And Constitutional Rights in many Movie Censorship And Constitutional Rights parts of the world, such as Mumbai-centered Bollywood, the Indian film industry's Hindi cinema which produces the largest number of films in the world.[1] Whether the ten Movie Censorship And Constitutional Rights thousand-plus feature Movie Censorship And Constitutional Rights length films a year produced by the Valley pornographic film industry should qualify for this title Movie Censorship And Constitutional Rights is the source of some debate.[citation needed] Though the expense Movie Censorship And Constitutional Rights involved in making movies has led cinema production Movie Censorship And Constitutional Rights to concentrate under the auspices of movie studios, recent Movie Censorship And Constitutional Rights advances in affordable film making equipment have allowed independent film productions to flourish.
Profit Movie Censorship And Constitutional Rights is a key force in the industry, due to the costly and risky nature of filmmaking; many films have large cost overruns, Movie Censorship And Constitutional Rights a notorious example being Kevin Costner's Waterworld. Yet many Movie Censorship And Constitutional Rights filmmakers strive to create works of lasting Movie Censorship And Constitutional Rights social significance. The Academy Awards (also known as "the Oscars") are the most prominent film awards in the Movie Censorship And Constitutional Rights United States, providing Movie Censorship And Constitutional Rights recognition each year to films, ostensibly Movie Censorship And Constitutional Rights based on Movie Censorship And Constitutional Rights their artistic merits.
There is also a large industry for educational and instructional films made in lieu of or in addition to lectures and texts.
Preview
A preview performance refers to Movie Censorship And Constitutional Rights a showing of a Movie Censorship And Constitutional Rights movie to Movie Censorship And Constitutional Rights a select audience, usually Movie Censorship And Constitutional Rights for the purposes of corporate promotions, before the public film premiere itself. Previews are sometimes used to judge audience reaction, which if unexpectedly negative, may result in recutting or Movie Censorship And Constitutional Rights even refilming certain sections. (cf Audience response.)
Trailer
Main article: Trailer Movie Censorship And Constitutional Rights (film)
Trailers or previews are film advertisements Movie Censorship And Constitutional Rights for films that will Movie Censorship And Constitutional Rights be exhibited in the future at Movie Censorship And Constitutional Rights a cinema, on whose screen they are shown. The term "trailer" comes from their having originally Movie Bumper Stickers been Movie Censorship And Constitutional Rights shown at the end of a film programme. That practice did not last long, because patrons Movie Censorship And Constitutional Rights tended to leave the Movie Censorship And Constitutional Rights theater after the films ended, but the Movie Censorship And Constitutional Rights name has stuck. Trailers Movie Censorship And Constitutional Rights are now shown before the film (or the Movie Censorship And Constitutional Rights A movie in a double Movie Censorship And Constitutional Rights feature program) begins.
The nature of the film determines the size and type of crew required during filmmaking. Many Hollywood adventure Movie Censorship And Constitutional Rights films need computer generated imagery (CGI), created by dozens Movie Censorship And Constitutional Rights of 3D modellers, animators, rotoscopers and compositors. However, a low-budget, independent film may be made with a skeleton crew, often paid very little. Also, an open source film may be Movie Censorship And Constitutional Rights produced through open, collaborative processes. Filmmaking takes place all over the world using different technologies, styles of Movie Censorship And Constitutional Rights acting and genre, and is produced in a variety of economic contexts that Movie Censorship And Constitutional Rights range from state-sponsored documentary in Movie Censorship And Constitutional Rights China to profit-oriented movie making within the American studio system.
This Movie Censorship And Constitutional Rights production cycle typically takes three years. The first year is taken up with development. The second year comprises preproduction and production. The third Movie Censorship And Constitutional Rights year, post-production and distribution.
Crew
Main article: Film crew
A film crew is a group of people hired by a film company, Movie Censorship And Constitutional Rights employed during the "production" or "photography" phase, for the purpose of producing a film or motion picture. Crew are distinguished from Movie Censorship And Constitutional Rights cast, the actors who appear in Movie Censorship And Constitutional Rights front of the camera or provide voices for characters in the film. The crew interacts with but is also distinct from the production staff, Movie Censorship And Constitutional Rights consisting of producers, managers, Movie Censorship And Constitutional Rights company representatives, their assistants, and those whose primary responsibility falls in pre-production or post-production phases, such as Movie Censorship And Constitutional Rights 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 Movie Censorship And Constitutional Rights defined hierarchies and standards for interaction and cooperation between the departments. Other than acting, the crew handles everything in the photography phase: props Movie Censorship And Constitutional Rights and costumes, Movie Censorship And Constitutional Rights shooting, sound, electrics (i.e., lights), sets, and production special effects. Caterers (known in the film industry as "craft services") are usually not considered part of Movie Censorship And Constitutional Rights 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 Movie Censorship And Constitutional Rights to record motion Movie Censorship And Constitutional Rights pictures, but Movie Censorship And Constitutional Rights due to its flammability was Movie Censorship And Constitutional Rights eventually replaced by safer materials. Stock widths and the film format for images Movie Censorship And Constitutional Rights on the reel have had a rich Movie Censorship And Constitutional Rights 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 Movie Censorship And Constitutional Rights speeds using hand-cranked cameras and projectors; though Movie Censorship And Constitutional Rights 1000 frames 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 Movie Censorship And Constitutional Rights from 18 frame/s on up Movie Censorship And Constitutional Rights (often Movie Censorship And Constitutional Rights reels included instructions on how fast each scene should be shown) [1]. When sound film was introduced in the late 1920s, Movie Censorship And Constitutional Rights a constant speed was required for the sound head. 24 frames per second was chosen Movie Censorship And Constitutional Rights because it was the slowest (and thus cheapest) speed which Even Stevens The Movie allowed for sufficient sound quality. Improvements since the Young Frankenstein Movie Pictures late 19th century include the mechanization of cameras � allowing them to Movie Censorship And Constitutional Rights record at a consistent speed, quiet camera design � Movie Censorship And Constitutional Rights allowing Movie Censorship And Constitutional Rights sound recorded on-set Movie Censorship And Constitutional Rights to be usable without Movie Censorship And Constitutional Rights requiring large "blimps" to encase the camera, the invention of more sophisticated filmstocks and lenses, allowing directors to film in increasingly dim conditions, and the development of synchronized sound, allowing sound to be recorded at exactly the same speed as its corresponding action. The soundtrack can be recorded separately from shooting the film, but for live-action Movie Censorship And Constitutional Rights pictures many parts of the soundtrack are Movie Censorship And Constitutional Rights usually recorded simultaneously.
As a medium, film is Movie Censorship And Constitutional Rights not limited to motion pictures, since the technology Movie Censorship And Constitutional Rights developed as the basis for photography. It can be used to present Movie Censorship And Constitutional Rights a progressive sequence Movie Censorship And Constitutional Rights of still images in the form of a slideshow. Film has Movie Censorship And Constitutional Rights also been incorporated into multimedia presentations, and often has importance as primary historical documentation. However, historic films have problems in terms of preservation and storage, and the motion picture industry is exploring many alternatives. Most movies on cellulose Movie Censorship And Constitutional Rights nitrate base Movie Censorship And Constitutional Rights have been copied onto modern safety Movie Censorship And Constitutional Rights films. Movie Censorship And Constitutional Rights 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 Movie Censorship And Constitutional Rights Technicolor process). Digital methods have Movie Censorship And Constitutional Rights also been used to restore films, although their continued obsolescence cycle makes them (as of 2006) a poor choice for long-term Movie Censorship And Constitutional Rights preservation. Movie Censorship And Constitutional Rights Film preservation of decaying film stock is a Movie Censorship And Constitutional Rights matter of concern to both film historians and archivists, and to companies Movie Censorship And Constitutional Rights interested in preserving their existing products Movie Censorship And Constitutional Rights 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 Movie Censorship And Constitutional Rights decay rates; black Movie Censorship And Constitutional Rights and white films on safety bases and color films Movie Censorship And Constitutional Rights preserved Movie Censorship And Constitutional Rights on Technicolor Movie Censorship And Constitutional Rights imbibition prints tend to keep up much better, assuming proper handling and storage.
Some films in recent decades Movie Censorship And Constitutional Rights have been recorded using analog video technology Movie Censorship And Constitutional Rights similar to that used in television production. Modern digital video cameras and digital projectors are gaining ground as well. Movie Censorship And Constitutional Rights These approaches are extremely beneficial to moviemakers, especially because footage can be evaluated and edited without waiting for the film stock to be processed. Movie Censorship And Constitutional Rights Yet the migration is gradual, and as of 2005 most major motion pictures are still recorded on film.
Independent
Main article: Independent Movie Censorship And Constitutional Rights film
The Lumiere Brothers
Independent filmmaking often takes place outside of Movie Censorship And Constitutional Rights Hollywood, or other major studio systems. An independent film (or indie film) is a film initially Movie Censorship And Constitutional Rights produced without Movie Censorship And Constitutional Rights financing or distribution from a major Movie Censorship And Constitutional Rights movie studio. Creative, business, Movie Censorship And Constitutional Rights and technological reasons have all contributed to the Movie Censorship And Constitutional Rights growth of the indie film scene in the late 20th and early 21st century.
On the business side, the costs of big-budget studio films also Grease Movie Clothing leads to Movie Censorship And Constitutional Rights conservative choices in cast and crew. There is a trend in Hollywood towards co-financing (over two-thirds of the films put out Movie Censorship And Constitutional Rights by Warner Bros. in 2000 were 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 experience in film or television. Also, the studios rarely produce films with unknown actors, particularly in lead roles.
Before the advent of digital alternatives, the cost of professional film equipment and stock was also a hurdle to being able to produce, direct, or star in a traditional studio film. The cost of Movie Censorship And Constitutional Rights 35 mm film is outpacing Movie Censorship And Constitutional Rights inflation: Movie Censorship And Constitutional Rights in 2002 alone, film negative costs were up 23%, according to Variety.[2].
But the advent of consumer camcorders in 1985, Movie Censorship And Constitutional Rights and more Movie Censorship And Constitutional Rights importantly, the arrival of high-resolution digital video in the early Movie Censorship And Constitutional Rights 1990s, have lowered the technology barrier to movie production significantly. Both production and Movie Censorship And Constitutional Rights post-production costs have been significantly lowered; today, the hardware and software for post-production can be installed Movie Censorship And Constitutional Rights in a commodity-based personal computer. Technologies such as DVDs, FireWire Movie Censorship And Constitutional Rights connections and non-linear editing system pro-level software like Adobe Premiere Pro, Sony Vegas Movie Censorship And Constitutional Rights 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 technology, the means of production have become more democratized. Filmmakers Movie Censorship And Constitutional Rights can conceivably shoot and edit a movie, create and edit the sound and music, and mix the final cut on a home computer. Movie Censorship And Constitutional Rights However, while the means of production may be democratized, financing, distribution, and marketing remain difficult to Movie Censorship And Constitutional Rights 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 outlets such as YouTube and Veoh has further changed the film making landscape in ways that are still Movie Censorship And Constitutional Rights to be determined.
Open content film
Main article: Open content film
An open content film is much like an independent Movie Censorship And Constitutional Rights film, but it is produced through Movie Censorship And Constitutional Rights open collaborations; its source Movie Censorship And Constitutional Rights material is available under a license which is Movie Censorship And Constitutional Rights permissive enough to allow other parties to create fan fiction or derivative works, than a traditional copyright. Like independent filmmaking, open source filmmaking takes place outside of Hollywood, or other major studio Movie Censorship And Constitutional Rights systems.
Fan film
Main article: Fan film
A Movie Censorship And Constitutional Rights fan film Movie Censorship And Constitutional Rights is a film Movie Censorship And Constitutional Rights or video inspired by a film, television program, comic book or a similar source, created by fans Movie Censorship And Constitutional Rights rather than by the source's copyright holders or creators. Fan filmmakers have traditionally Movie Censorship And Constitutional Rights 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 Movie Censorship And Constitutional Rights length, from short faux-teaser trailers Movie Censorship And Constitutional Rights for non-existent motion pictures to rarer full-length motion pictures
Animation is Movie Censorship And Constitutional Rights the technique in which Movie Censorship And Constitutional Rights each frame of a film is produced individually, whether generated as a computer Movie Censorship And Constitutional Rights graphic, or by photographing a drawn image, or by repeatedly making small changes to a model Movie Censorship And Constitutional Rights unit (see claymation and stop motion), and then Movie Censorship And Constitutional Rights photographing the result with a special animation camera. When the frames are strung together and the resulting film is viewed at a speed of 16 or more frames per second, Movie Censorship And Constitutional Rights 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 sped up the process.
File formats like GIF, QuickTime, Movie Censorship And Constitutional Rights Shockwave and Flash allow animation to be Movie Censorship And Constitutional Rights viewed on a computer or over the Internet.
Because animation is very time-consuming and American Movie Channle often very expensive to produce, the majority of animation for TV and movies comes from professional animation studios. However, the field of independent Movie Censorship And Constitutional Rights animation Movie Censorship And Constitutional Rights has existed at least Movie Censorship And Constitutional Rights since the 1950s, with animation being produced by independent studios (and sometimes by a single person). Several independent animation producers have gone on to enter the professional animation industry.
Limited animation is New Gi Joe Movie a Movie Censorship And Constitutional Rights way of increasing production and decreasing costs Movie Censorship And Constitutional Rights of animation Movie Censorship And Constitutional Rights by using "short cuts" in the animation process. This method was pioneered by UPA and popularized by Hanna-Barbera, and adapted by Movie Censorship And Constitutional Rights other studios as cartoons moved from movie theaters to television.[3]
Although most animation studios are now using digital technologies in their Movie Censorship And Constitutional Rights productions, there is a Movie Censorship And Constitutional Rights specific style of animation that depends on film. Cameraless animation, made famous by moviemakers like Norman McLaren, Len Lye and Stan Brakhage, Movie Censorship And Constitutional Rights is painted and drawn Movie Censorship And Constitutional Rights directly onto pieces of Movie Censorship And Constitutional Rights film, and then run through a projector.
Venues
When it Movie Censorship And Constitutional Rights is initially produced, a feature film is Movie Censorship And Constitutional Rights often shown to audiences in a Movie Censorship And Constitutional Rights movie theater Movie Censorship And Constitutional Rights or cinema. The first theater Movie Censorship And Constitutional Rights designed exclusively for cinema opened in Pittsburgh, Pennsylvania in 1905.[4] Thousands of such theaters were built or converted from existing facilities within Movie Censorship And Constitutional Rights a few years.[5] In the United States, these theaters came to be known as nickelodeons, because admission typically Movie Censorship And Constitutional Rights cost a nickel (five |
