Film is a term that encompasses individual motion pictures, the field of Movie Switchblade Knives film as an art form, and the motion picture industry. Films are produced by recording images from the world with cameras, or by creating images using animation techniques or special effects.
Films are cultural Movie Switchblade Knives artifacts created by specific cultures, which Movie Switchblade Knives reflect Movie Switchblade Knives those cultures, and, in turn, affect them. Film is considered to be an important art form, a source of popular entertainment and a powerful method Movie Switchblade Knives for educating � or indoctrinating � citizens. The Movie Switchblade Knives visual elements Movie Switchblade Knives of Movie Switchblade Knives cinema gives motion pictures a universal power of communication. Some films have become popular worldwide attractions by using dubbing or subtitles that translate the dialogue.
Traditional films are made up of a series of individual images called frames. When these images Movie Switchblade Knives are shown rapidly Movie Switchblade Knives in succession, a viewer has Movie Switchblade Knives the illusion that motion is Movie Switchblade Knives occurring. The viewer cannot see Movie Switchblade Knives the flickering between frames due to an effect known as persistence of vision, whereby the Movie Switchblade Knives eye retains a
The Movie Switchblade Knives origin of the name "film" comes from the fact that photographic film (also called film stock) had historically been the primary Movie Switchblade Knives medium for recording and displaying motion pictures. Many other terms exist for an Movie Switchblade Knives individual motion picture, including picture, picture show, photo-play, flick, and most commonly, movie. Additional terms for the Movie Switchblade Knives field in general include the big screen, Movie Switchblade Knives the silver screen, the cinema, and Movie Switchblade Knives the movies.In the 1860s, mechanisms for producing artificially created, Movie Switchblade Knives two-dimensional images in motion were demonstrated with devices such as the zoetrope and the praxinoscope. These machines were outgrowths of simple optical devices (such as magic lanterns) and would display sequences Movie Switchblade Knives of still pictures at sufficient speed for the images on the pictures to appear to be moving, a phenomenon called Movie Switchblade Knives persistence of vision. Naturally, the images needed to be Movie Switchblade Knives carefully designed to achieve the desired Movie Switchblade Knives effect Movie Switchblade Knives � and the underlying principle became the basis for Movie Switchblade Knives the development of film animation.
A frame from Roundhay Movie Switchblade Knives Garden Scene, the world's earliest film, by Louis Le Prince, 1888
With the development of celluloid film for still Movie Switchblade Knives photography, Movie Switchblade Knives 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 prints attached to a Movie Switchblade Knives drum turned by a handcrank. The pictures were shown at a variable speed of about 5 to 10 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 Movie Switchblade Knives component images to be captured and stored on a single Movie Switchblade Knives reel, and led quickly to the development of a motion picture projector to shine light through the processed and printed film and magnify these "moving picture shows" onto a screen for an Movie Switchblade Knives entire audience. Movie Switchblade Knives 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 (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, Movie Switchblade Knives films began developing a narrative structure by stringing scenes together to tell narratives. The scenes were later broken up into multiple shots of varying sizes and angles. Other techniques such as Movie Switchblade Knives camera movement were realized as effective ways to portray a story on film. Rather than leave the audience in silence, theater owners would hire a pianist or Movie Switchblade Knives organist or a full orchestra to play music Movie Switchblade Knives fitting the mood of the Movie Switchblade Knives film at Movie Switchblade Knives any given moment. By the early 1920s, most films came with a prepared Movie Switchblade Knives list of sheet Movie Switchblade Knives 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 Switchblade Knives early narrative Movie Switchblade Knives film.
The rise of European cinema was interrupted by the breakout of World War I while the film industry in United States flourished with the rise of Hollywood. However in the 1920s, European filmmakers such as Sergei Eisenstein, F. Movie Switchblade Knives W. Murnau, and Movie Switchblade Knives Fritz Lang, along with American innovator D. W. Griffith and Movie Switchblade Knives 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, Movie Switchblade Knives music and sound Movie Switchblade Knives effects synchronized with the action on the screen. These sound films were Movie Switchblade Knives initially distinguished by calling them "talking pictures", or talkies.
The Movie Switchblade Knives next major step in the development of cinema was the introduction Movie Switchblade Knives of so-called "natural" color. While Movie Switchblade Knives the addition of sound quickly eclipsed silent film Movie Switchblade Knives and theater musicians, color was adopted Where Can I Watch Movie Clips more gradually as methods evolved making it more practical and cost Movie Switchblade Knives effective to Movie Switchblade Knives produce "natural color" films. The public Movie Switchblade Knives was relatively indifferent to color photography as opposed to black-and-white,[citation needed] but Movie Switchblade Knives as color processes improved and became as affordable as black-and-white film, more and more movies were filmed in color after the end of World War II, as the industry in America came to view color as essential to attracting Movie Switchblade Knives audiences in its competition with television, which remained a black-and-white medium until the mid-1960s. By the end of the 1960s, col
Since the decline of the studio system in the 1960s, the succeeding decades saw changes in the Movie Switchblade Knives production Movie Switchblade Knives and style Movie Switchblade Knives of film. New Hollywood, French New Wave and Movie Switchblade Knives the rise of film school educated independent filmmakers were all part of the Movie Switchblade Knives changes the medium experienced in the latter half of the 20th century. Digital technology has Movie Switchblade Knives been the driving Movie Switchblade Knives force in change throughout the 1990s and into the 21st century.
Theory
Main article: Film theory
Film Movie Switchblade Knives theory seeks to develop concise and systematic concepts that apply to the study of film as art. It was started by Ricciotto Canudo's The Birth of the Sixth Art. Formalist film theory, led by Rudolf Arnheim, Bela Balazs, and Siegfried Kracauer, emphasized how film differed from Movie Switchblade Knives reality, and thus could be considered a valid fine Movie Switchblade Knives art. Andre Bazin reacted against this theory by arguing that film's artistic essence Movie Switchblade Knives lay in its ability to mechanically Movie Switchblade Knives reproduce Movie Switchblade Knives reality not Movie Switchblade Knives in its differences from reality, and this gave Movie Switchblade Knives rise to realist theory. More recent analysis spurred by Lacan's psychoanalysis and Ferdinand de Saussure's semiotics among other things has given rise to Movie Switchblade Knives psychoanalytical film theory, structuralist film Movie Switchblade Knives theory, feminist film Movie Switchblade Knives theory and others.
Criticism
Main article: Film criticism
Film criticism is the Movie Switchblade Knives analysis and evaluation of films. In general, these works can be divided into two categories: academic criticism by Movie Switchblade Knives film scholars and journalistic film criticism that appears regularly in newspapers and other media.
Film critics working Movie Switchblade Knives for newspapers, magazines, and broadcast media mainly review Movie Switchblade Knives new releases. Normally they only see any Movie Switchblade Knives given film once and have only Movie Switchblade Knives 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 Switchblade Knives not Movie Switchblade Knives to be greatly affected by a critic's overall judgment of a film. The plot summary and description Movie Switchblade Knives of a film that makes up the majority of any film review can still have an important Movie Switchblade Knives impact on whether people decide to see a film. For prestige films such as most Movie Switchblade Knives dramas, the influence Movie Switchblade Knives of reviews is extremely important. Poor reviews will often doom a 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 Movie Switchblade Knives marketing is now so intense Movie Switchblade Knives and well Movie Switchblade Knives financed that reviewers cannot make an impact against Movie Switchblade Knives 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 Movie Switchblade Knives that extreme Movie Switchblade Knives critical reactions can have considerable influence. Others note that positive film reviews have been shown to spark interest in little-known films. Conversely, there have been several films Movie Switchblade Knives in which film companies Movie Switchblade Knives have so little confidence that Movie Switchblade Knives they refuse to give reviewers an advanced viewing to avoid widespread panning Movie Switchblade Knives of the film. However, this usually backfires as reviewers are wise to Movie Switchblade Knives the tactic and warn the public Movie Switchblade Knives that the film may not be worth seeing and the films often do poorly as a Chrsitina Model Topless Movie result.
It is argued that journalist film Movie Switchblade Knives critics should only Movie Switchblade Knives be known Movie Switchblade Knives as film reviewers, and true Movie Switchblade Knives film critics are those who take Movie Switchblade Knives a more academic approach to films. This line of work Movie Switchblade Knives is more often known as film Movie Switchblade Knives theory or film studies. These film critics attempt to come to Movie Switchblade Knives understand how film and filming techniques work, and what effect they have on people. Rather than having their works published in newspapers or appear on television, their Movie Switchblade Knives articles are published in scholarly Movie Switchblade Knives journals, or sometimes in up-market magazines. They also tend to be affiliated with colleges Movie Switchblade Knives or universities.
Industry
Main Movie Switchblade Knives 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, was in their native Movie Switchblade Knives France, the Lumieres quickly set about touring the Continent to exhibit the first films privately to royalty and publicly to the Movie Switchblade Knives masses. Movie Switchblade Knives In each country, they Movie Switchblade Knives would normally Movie Switchblade Knives add new, local Movie Switchblade Knives scenes to their catalogue and, quickly enough, found local entrepreneurs in the various countries of Europe to buy their Movie Switchblade Knives equipment and photograph, Movie Switchblade Knives export, Movie Switchblade Knives import and screen additional product commercially. The Oberammergau Passion Play of 1898[citation needed] was the first Movie Switchblade Knives commercial motion picture ever produced. Other pictures soon followed, and motion pictures became a separate industry that overshadowed the vaudeville world. Dedicated theaters and companies formed specifically to produce and distribute films, while motion picture actors became major celebrities and commanded huge fees Movie Switchblade Knives for their Movie Switchblade Knives performances. Already by 1917, Charlie Chaplin had a contract that called for an annual salary of one million dollars.
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In the Making Supernatural Movie 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 cinema Movie Switchblade Knives which produces the largest Movie Switchblade Knives number of films in the world.[1] Whether the ten thousand-plus Movie Switchblade Knives feature length films a year produced by Movie Switchblade Knives the Valley pornographic film industry should qualify for Movie Switchblade Knives this title is the source of some debate.[citation needed] Though the expense involved Movie Switchblade Knives in making movies has led cinema production to concentrate Movie Switchblade Knives under the auspices of movie studios, recent advances in affordable film making equipment have allowed independent film productions to flourish.
Profit is a key force in the industry, due Movie Switchblade Knives to the costly Movie Switchblade Knives and risky nature of filmmaking; many films have large cost overruns, a notorious example being Kevin Costner's Waterworld. Movie Switchblade Knives Yet many filmmakers strive to create Movie Switchblade Knives works of lasting social significance. Movie Switchblade Knives The Movie Switchblade Knives Academy Awards (also Movie Switchblade Knives known as "the Oscars") are the most prominent film awards in the United States, providing recognition each year to films, ostensibly based on their artistic merits.
There is also Movie Switchblade Knives a Movie Switchblade Knives large industry for educational and instructional films made in lieu of or in addition to lectures and texts.
Preview
A preview performance refers to a showing of a Movie Switchblade Knives movie to a select audience, usually for the purposes of corporate promotions, before the public film premiere itself. Previews are sometimes used to judge Movie Switchblade Knives audience reaction, which if unexpectedly 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 Movie Switchblade Knives that will be exhibited in the future at a cinema, Movie Switchblade Knives on whose screen they Movie Switchblade Knives are shown. The term "trailer" comes from their having originally been shown Movie Switchblade Knives at Movie Switchblade Knives the end of a film programme. That practice Movie Switchblade Knives did not last long, because patrons tended to leave the theater after the films ended, but the Movie Switchblade Knives name has stuck. Trailers are now shown before the film (or the A movie in a Movie Switchblade Knives double feature program) begins.
The nature of the film determines the size and type of crew required during filmmaking. Many Hollywood adventure films need computer generated imagery (CGI), created by dozens of 3D modellers, animators, rotoscopers and compositors. However, Movie Switchblade Knives a low-budget, independent film may be made with Movie Switchblade Knives a skeleton Movie Switchblade Knives crew, often paid very little. Also, Movie Switchblade Knives an open Movie Switchblade Knives source film may be produced through open, collaborative processes. Filmmaking takes place all over the world using Movie Switchblade Knives different technologies, styles of acting and genre, and is produced in Movie Switchblade Knives a variety of Movie Switchblade Knives economic contexts that range Movie Switchblade Knives from state-sponsored documentary in China to profit-oriented movie making Movie Switchblade Knives within Movie Switchblade Knives the American studio Movie Switchblade Knives system.
This production Movie Switchblade Knives cycle typically takes three years. The Movie Switchblade Knives first year is Movie Switchblade Knives taken up with Movie Switchblade Knives development. The second year comprises preproduction and production. The third year, post-production and distribution.
Crew
Main article: Film crew
A film crew is a group of people hired by Movie Switchblade Knives a film company, employed during the "production" or Movie Switchblade Knives "photography" phase, for the purpose of producing a film or Movie Switchblade Knives motion picture. Crew are distinguished from cast, the actors who appear in front of the camera or provide voices for characters Movie Switchblade Knives in the film. The crew interacts with but is also distinct from the production staff, consisting of Movie Switchblade Knives producers, managers, company representatives, their assistants, and those whose primary responsibility falls Movie Switchblade Knives in pre-production or post-production phases, such as writers Movie Switchblade Knives and editors. Communication between production and crew generally passes Movie Switchblade Knives through the director and his/her staff of assistants. Medium-to-large crews are generally Movie Switchblade Knives divided into departments with well defined hierarchies and standards for Movie Switchblade Knives interaction Movie Switchblade Knives and cooperation between the departments. Other than acting, the Movie Switchblade Knives crew Movie Switchblade Knives handles everything in Movie Switchblade Knives the photography Movie Switchblade Knives phase: props and costumes, shooting, Movie Switchblade Knives sound, electrics Movie Switchblade Knives (i.e., lights), sets, and production special effects. Caterers (known in the film industry as "craft services") are usually not Movie Switchblade Knives considered part of Movie Switchblade Knives the crew.
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 Movie Switchblade Knives pictures, but due to its flammability was eventually Movie Switchblade Knives replaced by safer materials. Stock widths Movie Switchblade Knives and Movie Switchblade Knives the film format for Movie Switchblade Knives images on the Movie Switchblade Knives 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 Movie Switchblade Knives picture film Movie Switchblade Knives was shot and projected at various speeds using hand-cranked cameras and projectors; though 1000 frames per Movie Switchblade Knives minute (16? frame/s) is generally cited as a standard silent speed, Movie Switchblade Knives research indicates most films were shot between 16 frame/s and 23 frame/s Movie Switchblade Knives and projected from 18 frame/s on up (often reels included Movie Switchblade Knives instructions on how fast each scene should be shown) [1]. When sound film was introduced in the late 1920s, a Movie Switchblade Knives constant speed was required for the sound Movie Switchblade Knives head. 24 frames per second was chosen because it was the slowest (and thus cheapest) speed which allowed for sufficient sound quality. Improvements since the late 19th century include the mechanization of cameras � allowing them to record at a consistent Movie Switchblade Knives speed, quiet camera design � allowing sound recorded on-set to Movie Switchblade Knives be usable without requiring large "blimps" to encase the camera, the invention of Movie Switchblade Knives more Movie Switchblade Knives 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 Movie Switchblade Knives the same Movie Switchblade Knives 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 a medium, film is not limited to motion pictures, since the technology developed as the basis for photography. It Movie Switchblade Knives can be used to present a progressive Movie Switchblade Knives sequence of still images in the form of Movie Switchblade Knives a slideshow. Film has also been incorporated into multimedia presentations, and often has importance as primary historical Movie Switchblade Knives documentation. However, historic films have problems in terms of Movie Switchblade Knives preservation and storage, and the motion picture industry is exploring many alternatives. Most movies on Movie Switchblade Knives cellulose nitrate base have been copied onto modern safety films. Some studios save color films through the use of separation Movie Switchblade Knives masters � three B&W negatives each exposed through Movie Switchblade Knives red, green, or Movie Switchblade Knives blue filters (essentially a reverse of the Movie Switchblade Knives Technicolor process). Digital methods have also been used to restore films, although their continued obsolescence cycle makes them (as Movie Switchblade Knives 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 Movie Switchblade Knives archivists, and to companies interested in preserving their existing Movie Switchblade Knives products in order to make Movie Switchblade Knives 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 Movie Switchblade Knives films on safety bases and color films Movie Switchblade Knives preserved on Technicolor imbibition prints tend Movie Switchblade Knives to keep up much better, assuming proper handling and storage.
Some films in recent decades have been recorded using analog video technology similar Movie Switchblade Knives to that used Movie Switchblade Knives in television production. Modern digital video cameras and digital projectors Movie Switchblade Knives are Movie Switchblade Knives gaining ground as well. These approaches are extremely beneficial to moviemakers, Movie Switchblade Knives especially Movie Switchblade Knives because footage can be evaluated and edited without waiting for Movie Switchblade Knives the film stock to be processed. Yet the migration is gradual, and as of 2005 Movie Switchblade Knives most major Movie Switchblade Knives motion pictures are Movie Switchblade Knives still recorded on film.
Independent
Main article: Independent film
The Lumiere Brothers
Independent filmmaking often takes place outside Movie Switchblade Knives of Hollywood, or other major studio Movie Switchblade Knives systems. An independent film (or indie film) is a film Movie Switchblade Knives initially produced without financing or distribution from a major movie studio. Creative, business, and technological reasons have all X Rated Movie Trailers contributed to the Movie Switchblade Knives growth of the indie Movie Switchblade Knives film scene in the late 20th and early 21st century.
On the business side, the costs Movie Switchblade Knives of big-budget studio films also leads Movie Switchblade Knives to conservative choices Movie Switchblade Knives in cast and Movie Switchblade Knives crew. There is a trend in Hollywood towards co-financing (over two-thirds of Movie Switchblade Knives the films put out by Warner Bros. in 2000 were joint Movie Switchblade Knives ventures, up from 10% in 1987).[2] A hopeful director is almost never given the opportunity to get Movie Switchblade Knives a job on a big-budget studio film unless he or she has significant Movie Switchblade Knives industry experience in film Movie Switchblade Knives or television. Also, the studios rarely produce films with unknown actors, particularly Movie Switchblade Knives in Movie Switchblade Knives lead roles.
Before the advent of digital Movie Switchblade Knives alternatives, the cost of professional film equipment and stock was also a hurdle to being able to Movie Switchblade Knives produce, direct, or star in a Movie Switchblade Knives traditional studio film. The cost of 35 mm film is outpacing inflation: in 2002 alone, film negative costs were up 23%, according to Variety.[2].
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But the advent of consumer camcorders in 1985, and more importantly, the arrival of high-resolution digital video in the early 1990s, have lowered the technology barrier to movie production significantly. Both Movie Switchblade Knives production and post-production costs have been significantly lowered; today, Movie Switchblade Knives the hardware and software for post-production can be installed in a commodity-based personal Movie Switchblade Knives computer. Technologies such as DVDs, FireWire connections and non-linear editing system pro-level software like Adobe Premiere Movie Switchblade Knives Pro, Sony Vegas and Apple's Final Cut Pro, and consumer level software such as Apple's Final Cut Express and iMovie make movie-making relatively inexpensive.
Since the introduction of DV technology, the means of production have become more democratized. Filmmakers can conceivably shoot and Movie Switchblade Knives edit a movie, create and edit the sound and music, and mix the final cut on a home computer. However, Movie Switchblade Knives while the means of production may be democratized, financing, distribution, and marketing remain difficult to accomplish outside the traditional system. Most independent filmmakers rely on Movie Switchblade Knives film festivals to get their films noticed and sold for distribution. The arrival Movie Switchblade Knives of internet-based video outlets such as YouTube and Veoh has further changed the film making landscape in ways that are still to be determined.
Open content film
Main article: Movie Switchblade Knives Open content film
An open content film is much like an independent film, but it is Movie Switchblade Knives produced through Movie Switchblade Knives open collaborations; its source material is available under a license which is Movie Switchblade Knives 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 systems.
Fan film
Main article: Fan film
A fan film Movie Switchblade Knives is a film or video inspired by a film, television program, comic book or a similar source, created by Movie Switchblade Knives fans rather than by the source's copyright holders or creators. Fan filmmakers have Movie Switchblade Knives traditionally been amateurs, but some of the more notable films have actually been produced by professional filmmakers as film school class Movie Switchblade Knives projects or as demonstration reels. Fan films vary tremendously in length, from short Movie Switchblade Knives faux-teaser trailers for non-existent motion pictures to rarer full-length motion pictures
Animation is the technique in Movie Switchblade Knives which each frame of Movie Switchblade Knives a Movie Switchblade Knives film is produced individually, whether generated as a computer graphic, or by photographing a drawn image, or by repeatedly Movie Switchblade Knives making small changes to a model unit (see claymation Movie Switchblade Knives and stop motion), and then photographing the result Movie Switchblade Knives with Movie Switchblade Knives a special animation camera. When the Movie Switchblade Knives frames are strung together and Movie Switchblade Knives the Movie Switchblade Knives resulting film is viewed at Dom Deluise Movie a speed of 16 or more frames per second, there is an illusion of continuous movement (due to the persistence of vision). Generating such a film is very labour intensive and tedious, though the development Movie Switchblade Knives of Movie Switchblade Knives computer animation has Movie Switchblade Knives greatly sped up the process.
File formats like GIF, QuickTime, Shockwave and Flash allow animation to be viewed Movie Switchblade Knives on a Movie Switchblade Knives computer or over the Internet.
Because animation is very time-consuming and often very expensive to produce, the majority of animation for TV and Movie Switchblade Knives movies comes from professional animation studios. However, the field of independent animation has existed at least since Movie Switchblade Knives the 1950s, with animation being produced by Movie Switchblade Knives independent studios Movie Switchblade Knives (and sometimes by a single person). Several independent animation producers have gone on to enter the professional animation industry.
Limited Movie Switchblade Knives animation is a Movie Switchblade Knives way Movie Switchblade Knives of increasing production and decreasing costs of animation by using "short cuts" Movie Switchblade Knives 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 Movie Switchblade Knives animation studios Movie Switchblade Knives are Movie Switchblade Knives now using Theater Movie Dothan Alabama digital technologies in their productions, there is a specific style of animation that Movie Switchblade Knives depends on film. Cameraless Movie Switchblade Knives animation, made famous by moviemakers like Norman McLaren, Movie Switchblade Knives Len Lye and Stan Brakhage, is painted and drawn directly onto pieces of film, and then run through a projector.
Venues
When it is initially produced, a Movie Switchblade Knives feature film is often shown to audiences in a movie theater or cinema. The first theater designed exclusively for cinema opened in Pittsburgh, Pennsylvania in 1905.[4] Thousands of such theaters were built or converted from existing facilities within a few years.[5] Movie Switchblade Knives In the Movie Switchblade Knives United States, these theaters came to be known as nickelodeons, because Movie Switchblade Knives admission typically cost a nickel Movie Switchblade Knives (five cents).
Typically, Movie Switchblade Knives one film is the featured presentation (or feature film). Before the 1970s, there were "double features"; typically, a high quality "A picture" rented Movie Switchblade Knives by an independent theater for a Movie Switchblade Knives lump sum, and a "B picture" of lower quality rented for a percentage of the gross receipts. Today, the bulk of the material shown before the feature film consists Movie Switchblade Knives of previews for upcoming movies and paid advertisements (also known as trailers or "The Twenty").
Historically, all mass marketed feature films were made to be shown in movie theaters. The development of television has allowed films to be broadcast to larger audiences, usually after the film is no longer Movie Switchblade Knives being shown in theaters. Recording technology has also enabled consumers to rent Movie Switchblade Knives or buy copies of films Movie Switchblade Knives Supersize Me Movie on VHS or DVD (and the older formats of laserdisc, VCD and SelectaVision Movie Switchblade Knives � see also videodisc), and Movie Switchblade Knives Internet downloads may be available and have started to become revenue sources for the film companies. Some films are Movie Switchblade Knives now made specifically for these other venues, being released as made-for-TV movies or direct-to-video movies. The production Movie Switchblade Knives values on 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 Movie Switchblade Knives studios upon completion are distributed through these markets.
The movie theater pays an average of about 50-55% of its ticket sales to the movie studio, as film rental fees.[6] The Movie Switchblade Knives actual percentage starts with a number higher than that, and decreases as Movie Switchblade Knives the duration of a film's showing continues, as an incentive to theaters Movie Switchblade Knives to keep movies in the theater Movie Switchblade Knives longer. However, today's barrage of highly marketed movies ensures that most movies are shown in first-run theaters for less than 8 weeks. There are a few movies every year that defy this rule, often limited-release movies that start in only a few theaters and actually grow their theater count through good word-of-mouth and Movie Switchblade Knives reviews. According to a 2000 study by ABN AMRO, about 26% of Hollywood movie studios' worldwide income came from box office ticket sales; 46% Movie Switchblade Knives came from VHS and DVD sales to consumers; Movie Switchblade Knives and Movie Switchblade Knives 28% came from television (broadcast, cable, and pay-per-view).[6]
Future state
While motion picture films have been Movie Switchblade Knives around for more than Movie Switchblade Knives a century, film is still a relative newcomer in the pantheon Movie Switchblade Knives of fine arts. In the 1950s, when television became widely available, industry Movie Switchblade Knives analysts predicted the demise of local movie theaters. Despite competition Movie Switchblade Knives from television's increasing technological sophistication over the 1960s and 1970s, such as the development of color television and large screens, motion picture cinemas continued. In the 1980s, Movie Switchblade Knives when the Movie Switchblade Knives widespread availability of inexpensive videocassette recorders enabled people to select films Movie Switchblade Knives for home viewing, industry analysts again wrongly predicted the death of the local cinemas.
In the 1990s and 2000s the development of digital DVD players, home Movie Switchblade Knives theater amplification systems with surround sound and subwoofers, Movie Switchblade Knives and large LCD or plasma screens enabled people to select and Movie Switchblade Knives view films at home with greatly improved audio and visual reproduction. These new technologies provided audio and visual that in the past only local cinemas had been able Movie Switchblade Knives to provide: a Movie Switchblade Knives large, clear widescreen presentation of a film with a full-range, high-quality multi-speaker sound system. Once again industry analysts Movie Switchblade Knives predicted the demise of the local cinema. Local cinemas will be Movie Switchblade Knives changing in the 2000s and Movie Switchblade Knives moving Movie Switchblade Knives towards digital screens, a Movie Switchblade Knives new approach which will allow for easier and quicker distribution of films (via satellite or hard disks), a Movie Switchblade Knives development which may Movie Switchblade Knives give local theaters a reprieve from their predicted demise.
The cinema now faces a new challenge from home video by the likes Movie Switchblade Knives of Movie Switchblade Knives a new DVD format Blu-ray, which can provide full HD 1080p video playback at near cinema quality. Video |
