Film is a term that encompasses individual motion pictures, the field What Women Want Movie of 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 What Women Want Movie 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 What Women Want Movie form, a source of popular entertainment and a powerful method for educating � or indoctrinating � citizens. What Women Want Movie The visual elements of What Women Want Movie 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 What Women Want Movie images are shown rapidly in succession, a viewer has What Women Want Movie the illusion that motion is occurring. The viewer cannot see the flickering between frames due to an effect known as persistence of vision, whereby the eye retains a
The origin of the name What Women Want Movie "film" comes from the fact that photographic What Women Want Movie film (also called film stock) had historically been the What Women Want Movie primary medium for recording and displaying motion pictures. Many other What Women Want Movie terms What Women Want Movie exist for an individual motion picture, including picture, What Women Want Movie picture show, photo-play, flick, and What Women Want Movie most commonly, movie. Additional terms for What Women Want Movie the field in general include the big screen, What Women Want Movie the What Women Want Movie silver screen, What Women Want Movie the What Women Want Movie cinema, and the movies.In the 1860s, mechanisms for producing artificially created, two-dimensional images in motion Chipmunk Movie Ringtones 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 What Women Want Movie sequences of still pictures at sufficient speed for the images on the pictures to appear to be moving, a phenomenon called persistence of vision. Naturally, the images needed to be carefully designed to What Women Want Movie achieve the desired effect What Women Want Movie � and the underlying principle became the basis for the development of film What Women Want Movie animation.
A frame from Roundhay Garden What Women Want Movie Scene, the world's earliest film, by Louis What Women Want Movie Le Prince, 1888
With the development of celluloid film for still photography, it became possible What Women Want Movie to directly capture objects in motion in real time. Early versions What Women Want Movie of the technology sometimes required a person to look into a viewing machine to see the What Women Want Movie pictures which were separate paper prints attached What Women Want Movie to a drum turned by a handcrank. The pictures were shown What Women Want Movie at a What Women Want Movie variable speed of about 5 to 10 pictures per second depending on how rapidly the crank was turned. Some of these machines were What Women Want Movie coin operated. What Women Want Movie By the 1880s, the What Women Want Movie development of the motion picture camera allowed the individual component images to be captured and stored on a single What Women Want Movie reel, and led quickly to What Women Want Movie 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 entire audience. These reels, so exhibited, What Women Want Movie came to be known as "motion pictures". Early motion pictures were static shots that showed an event or action with no What Women Want Movie editing What Women Want Movie or What Women Want Movie other cinematic techniques.
Ignoring Dickson's early sound experiments (1894), commercial motion pictures were purely visual art through the late 19th century, but these innovative silent films had gained a hold on the public imagination. Around the turn of the twentieth century, films began What Women Want Movie developing a narrative structure by stringing scenes together What Women Want Movie to tell narratives. The scenes were later broken up into multiple shots of varying sizes and angles. Other techniques such as camera movement were realized as effective ways to portray a story What Women Want Movie on film. Rather than leave the audience in silence, theater owners would hire a pianist or organist or What Women Want Movie a What Women Want Movie full orchestra to play music fitting the mood of the film at any given moment. By the early 1920s, most films came with a What Women Want Movie prepared list of sheet music for this purpose, with What Women Want Movie complete film scores being composed What Women Want Movie for major What Women Want Movie productions.
A shot from Georges Melies Le Voyage dans la Lune (A Trip to the What Women Want Movie Moon) (1902), an early narrative What Women Want Movie film.
The rise of European cinema was What Women Want Movie interrupted by the breakout of World War What Women Want Movie I What Women Want Movie while the film industry in United States flourished with the rise of Hollywood. However in the 1920s, European filmmakers such as Sergei Eisenstein, F. W. Murnau, and Fritz Lang, along What Women Want Movie with American What Women Want Movie innovator D. W. Griffith and the contributions of Charles Chaplin, Buster Keaton and others, continued to advance the medium. In the 1920s, new technology allowed filmmakers to attach to each film a Hannah Montana 3d Concert Movie soundtrack What Women Want Movie of speech, music and sound What Women Want Movie effects synchronized with the action on What Women Want Movie the What Women Want Movie screen. These sound films were initially What Women Want Movie distinguished by calling them "talking What Women Want Movie pictures", or talkies.
The next major step in the development of cinema was the introduction What Women Want Movie of What Women Want Movie so-called "natural" color. While the What Women Want Movie addition of sound quickly eclipsed silent film and theater musicians, color 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 needed] but as color processes improved and became What Women Want Movie as affordable as black-and-white film, more and What Women Want Movie more movies were filmed in color after the What Women Want Movie end of World War II, as the industry What Women Want Movie in America came to view color as essential to attracting audiences in What Women Want Movie its competition with What Women Want Movie television, which remained a black-and-white medium until the mid-1960s. By What Women Want Movie the end of the 1960s, col
Since the decline of the studio system in the 1960s, the succeeding decades saw changes in the production and style of film. New Hollywood, French New Wave and the rise What Women Want Movie of film What Women Want Movie school educated independent filmmakers What Women Want Movie were all part of the changes the medium experienced in the latter half of What Women Want Movie the 20th century. What Women Want Movie Digital technology has been the driving force in change throughout the 1990s and into What Women Want Movie the 21st century.
Theory
Main article: Film theory
Film theory seeks What Women Want Movie 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 reality, and thus could be considered a What Women Want Movie valid fine art. Andre Bazin reacted against this What Women Want Movie theory What Women Want Movie by arguing What Women Want Movie that film's artistic essence lay in its ability to mechanically reproduce reality not in its What Women Want Movie differences from reality, and this gave rise to realist theory. More recent analysis spurred What Women Want Movie by Lacan's psychoanalysis and Ferdinand de What Women Want Movie Saussure's semiotics among other things has given rise to psychoanalytical film theory, structuralist What Women Want Movie film theory, feminist film theory and others.
Criticism
Main article: Film criticism
Film What Women Want Movie criticism is the analysis and evaluation of films. In general, these works can be divided into two categories: academic criticism by film scholars What Women Want Movie and What Women Want Movie journalistic What Women Want Movie film criticism that appears regularly in newspapers and other media.
Film critics working for newspapers, magazines, and broadcast media mainly review What Women Want Movie new releases. Normally What Women Want Movie they only see any given film once and have only a day or two to formulate opinions. What Women Want Movie Despite this, critics What Women Want Movie have What Women Want Movie an important impact on films, especially those of certain genres. Mass marketed action, horror, and comedy films tend What Women Want Movie 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 a film. For What Women Want Movie prestige films such as most dramas, the influence of reviews is extremely important. Poor reviews will often doom a What Women Want Movie film What Women Want Movie to obscurity and financial loss.
The impact of a reviewer on a given film's box office performance is a matter of debate. Some What Women Want Movie claim that What Women Want Movie movie marketing is now so intense and well financed What Women Want Movie that reviewers cannot make an impact against it. However, the cataclysmic failure of some heavily-promoted movies which were harshly reviewed, as well as the unexpected success of critically praised independent movies indicates that extreme critical reactions What Women Want Movie can have considerable influence. Others note What Women Want Movie that positive film reviews have been shown to spark interest in little-known films. Conversely, there have been What Women Want Movie several films in which film companies What Women Want Movie have so little confidence What Women Want Movie that they refuse to give reviewers an advanced viewing to avoid widespread panning of the film. However, this usually backfires as reviewers are wise to What Women Want Movie the tactic and warn the public that the film may not What Women Want Movie be worth seeing and the films often do poorly as a result.
It is argued that journalist film critics should only The Mist Full Movie Online be known as film reviewers, and true film critics What Women Want Movie are those who take a more academic approach to films. This line of work is more often known as film theory or What Women Want Movie film studies. These film What Women Want Movie critics attempt to come to 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 articles are published in scholarly journals, or sometimes in up-market magazines. What Women Want Movie 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 What Women Want Movie process was invented. What Women Want Movie Upon What Women Want Movie seeing how successful their new invention, and its product, What Women Want Movie was in their native France, the Lumieres quickly set about touring the Continent to exhibit the first films privately to royalty and publicly to the masses. In each country, they would normally add new, local scenes to their catalogue and, quickly enough, found What Women Want Movie local entrepreneurs in the What Women Want Movie various countries of Europe to buy their What Women Want Movie equipment and photograph, export, import and screen additional product commercially. The What Women Want Movie Oberammergau Passion Play of 1898[citation What Women Want Movie needed] was the first commercial motion picture What Women Want Movie ever produced. Other pictures soon What Women Want Movie followed, and motion What Women Want Movie pictures became a separate industry that overshadowed the vaudeville world. Dedicated theaters and companies formed specifically to produce and distribute films, while What Women Want Movie motion picture actors became major celebrities and commanded huge fees for their performances. Already by 1917, Charlie Chaplin had a What Women Want Movie contract that called What Women Want Movie for an annual salary of one million dollars.
In the United States What Women Want Movie today, much of the film What Women Want Movie industry is centered around Hollywood. Other regional centers exist in many parts of the world, such as Mumbai-centered What Women Want Movie Bollywood, What Women Want Movie the Indian film industry's Hindi cinema which produces the largest number of films in the world.[1] Whether the ten thousand-plus feature length films a year produced by the Valley pornographic film industry What Women Want Movie should qualify What Women Want Movie for this title is the What Women Want Movie source of some debate.[citation needed] Though the expense What Women Want Movie involved in What Women Want Movie making movies has led cinema production What Women Want Movie to concentrate under the auspices of movie studios, recent advances in affordable film making What Women Want Movie equipment have allowed independent film productions What Women Want Movie to What Women Want Movie flourish.
Profit is a key force in the industry, due to the costly and risky nature of filmmaking; many films have large cost overruns, a notorious example being What Women Want Movie Kevin Costner's Waterworld. Yet many filmmakers strive What Women Want Movie to create works of What Women Want Movie lasting social significance. The Academy Awards (also known as "the Oscars") are the most prominent film What Women Want Movie awards in the United States, providing recognition each year What Women Want Movie to films, ostensibly based on What Women Want Movie their artistic merits.
There is also a large industry for educational and instructional films made in lieu of What Women Want Movie or in addition to lectures and What Women Want Movie texts.
Preview
A preview performance What Women Want Movie refers What Women Want Movie to a showing of a movie to a select audience, usually for the What Women Want Movie purposes of corporate promotions, before the public film premiere itself. Previews are sometimes used to judge audience reaction, which if unexpectedly What Women Want Movie negative, What Women Want Movie may result in recutting or even refilming certain sections. (cf Audience response.)
Trailer
Main article: Trailer (film)
Trailers or previews are film What Women Want Movie advertisements for films that will be exhibited in What Women Want Movie the future at What Women Want Movie a cinema, on whose screen they are shown. The term "trailer" comes from their having originally been shown at What Women Want Movie the end of a film programme. That practice did not last long, because patrons tended to leave the theater after the films ended, but the name has stuck. Trailers are now shown before the film (or the A movie in a double What Women Want Movie feature program) begins.
The nature of the film determines the size and What Women Want Movie type of crew required during filmmaking. Many Hollywood adventure films need computer generated imagery (CGI), created by dozens of 3D modellers, animators, rotoscopers and compositors. However, a low-budget, independent film What Women Want Movie may be made with a skeleton crew, What Women Want Movie often What Women Want Movie paid very little. Also, an open source film What Women Want Movie may be produced through open, collaborative processes. Filmmaking takes place all over the world using different technologies, styles of What Women Want Movie acting and genre, What Women Want Movie and is produced in a variety of economic contexts that range from state-sponsored documentary in China to profit-oriented movie making within What Women Want Movie the American studio system.
This production cycle typically takes three years. The first year is taken up with development. The second year comprises preproduction What Women Want Movie and production. The third year, post-production and distribution.
Crew
Main article: Film crew
A film crew What Women Want Movie is a group of people hired by a film company, employed What Women Want Movie during the What Women Want Movie "production" or "photography" phase, for What Women Want Movie the purpose What Women Want Movie of producing a film or motion picture. Crew are distinguished from cast, the actors who appear in front of the camera or provide voices for characters in the film. The crew interacts with What Women Want Movie but is also distinct from the production staff, consisting of producers, managers, company representatives, their assistants, and those whose What Women Want Movie primary responsibility falls in pre-production or post-production phases, such as What Women Want Movie writers and editors. Communication between production and crew generally passes through the director and his/her staff of assistants. Medium-to-large crews are generally divided into departments with well defined hierarchies and standards What Women Want Movie for interaction and cooperation between What Women Want Movie the departments. Other than acting, the crew What Women Want Movie handles What Women Want Movie everything in the photography phase: props and costumes, shooting, sound, electrics (i.e., lights), sets, and production special effects. Caterers (known in the What Women Want Movie film industry as "craft services") are usually What Women Want Movie not considered What Women Want Movie part of the crew.
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Technology
Film stock consists of transparent What Women Want Movie celluloid, acetate, or polyester base coated with What Women Want Movie 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 was eventually replaced by safer materials. Stock widths and the film format for images on the reel have had a rich history, though most large commercial films are still shot on (and distributed to theaters) as 35 mm prints.
Originally moving picture film was shot and What Women Want Movie projected at various speeds using hand-cranked cameras and What Women Want Movie projectors; though 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 What Women Want Movie 23 frame/s What Women Want Movie and projected from What Women Want Movie 18 frame/s on up (often reels included instructions on how What Women Want Movie fast each scene should be shown) [1]. When sound film was introduced in the late 1920s, a constant speed was required for the sound head. 24 frames per second was chosen because What Women Want Movie it was the slowest (and What Women Want Movie thus What Women Want Movie cheapest) speed which What Women Want Movie allowed for sufficient sound quality. Improvements What Women Want Movie since the late 19th century include What Women Want Movie the mechanization of cameras � allowing them to record at a consistent speed, quiet camera design � allowing sound recorded What Women Want Movie on-set to What Women Want Movie be usable What Women Want Movie without What Women Want Movie requiring large "blimps" to encase What Women Want Movie the camera, the invention of more sophisticated filmstocks and lenses, allowing directors to film in increasingly dim What Women Want Movie conditions, and the development of synchronized sound, allowing sound to be recorded What Women Want Movie at exactly the same speed as its corresponding action. The soundtrack can be recorded separately from What Women Want Movie shooting the film, What Women Want Movie but for live-action pictures many parts of the soundtrack are usually recorded simultaneously.
As a medium, film What Women Want Movie is not limited to motion pictures, since the technology developed as the basis for photography. What Women Want Movie It What Women Want Movie can What Women Want Movie be used to present a progressive sequence of still images in the form of a slideshow. Film has 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 What Women Want Movie picture industry What Women Want Movie is exploring many alternatives. Most movies on cellulose nitrate base have been copied onto modern What Women Want Movie safety What Women Want Movie films. Some studios save color What Women Want Movie films through the use of separation masters � three B&W negatives each exposed through red, green, or blue filters (essentially a reverse of the Technicolor process). Digital methods have also been used to restore films, although their continued obsolescence cycle makes them (as of 2006) a poor What Women Want Movie choice What Women Want Movie for long-term preservation. Film preservation of decaying film stock is a matter of concern to both film historians and archivists, and What Women Want Movie to What Women Want Movie companies interested in preserving their existing products in order to make them What Women Want Movie 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 What Women Want Movie films on safety What Women Want Movie bases and color films preserved What Women Want Movie on Technicolor imbibition prints tend to keep up much better, assuming proper handling What Women Want Movie and storage.
Some films in recent decades have What Women Want Movie been recorded using What Women Want Movie analog video technology similar to that What Women Want Movie used in television production. Modern digital video cameras and digital projectors are gaining ground as What Women Want Movie well. These approaches are extremely beneficial to moviemakers, especially because footage can be evaluated and edited without waiting What Women Want Movie for the film stock 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 What Women Want Movie financing or distribution from a major movie studio. Creative, business, and technological reasons have all contributed to the What Women Want Movie growth What Women Want Movie of the indie film scene in the late 20th and early 21st century.
On the business side, the costs of big-budget What Women Want Movie studio films also leads to What Women Want Movie P2p Movie Sharing conservative choices in cast and crew. There is a trend in Hollywood towards co-financing (over two-thirds of What Women Want Movie the films put out by Warner Bros. in 2000 were joint ventures, up from 10% What Women Want Movie in 1987).[2] A hopeful director is almost never given What Women Want Movie the opportunity to get a job on What Women Want Movie a big-budget studio film unless he What Women Want Movie or she has significant industry What Women Want Movie 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 What Women Want Movie of professional film equipment and stock was also a hurdle to What Women Want Movie being able to produce, What Women Want Movie direct, or star in a traditional studio film. What Women Want Movie The cost of 35 mm film is outpacing inflation: in 2002 What Women Want Movie alone, film What Women Want Movie negative costs What Women Want Movie were up 23%, according to Variety.[2].
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 What Women Want Movie barrier to movie production What Women Want Movie significantly. Both What Women Want Movie production and What Women Want Movie post-production costs have been significantly lowered; What Women Want Movie today, the hardware Movie Theaters In Buford Georgia and What Women Want Movie software for post-production can be installed in What Women Want Movie 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 What Women Want Movie Apple's Final Cut Pro, and consumer level software such as Apple's Final Cut What Women Want Movie Express and iMovie make movie-making relatively inexpensive.
Since the introduction of DV technology, the means of production have become more democratized. Filmmakers can What Women Want Movie conceivably shoot and edit a movie, create and edit the sound and music, and mix the final cut on a home What Women Want Movie computer. However, while the means of production What Women Want Movie may be democratized, What Women Want Movie financing, distribution, and marketing remain difficult to accomplish outside the traditional system. Most independent filmmakers rely on film festivals What Women Want Movie to What Women Want Movie get their films noticed and sold for distribution. The arrival of internet-based video What Women Want Movie outlets such What Women Want Movie as YouTube and Veoh has further changed the film making landscape in ways that are still to be determined.
Open content film
Main article: Open content film
An open content film is much What Women Want Movie like an independent film, but it is produced through open collaborations; its source material is available What Women Want Movie under a license which is permissive enough to allow other parties to create fan fiction What Women Want Movie or derivative works, than a traditional copyright. Like independent filmmaking, What Women Want Movie open source filmmaking takes What Women Want Movie place outside of Hollywood, What Women Want Movie or other major What Women Want Movie studio systems.
Fan film
Main article: Fan film
A fan film is a film or video inspired by a film, television program, What Women Want Movie comic book or a similar source, What Women Want Movie created by What Women Want Movie fans rather than by the source's copyright What Women Want Movie holders or creators. Fan filmmakers have 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 short faux-teaser trailers for non-existent motion pictures to rarer full-length motion pictures
Animation is What Women Want Movie the technique in which each frame of a film is produced individually, What Women Want Movie whether generated as a computer graphic, or by photographing a drawn image, or by repeatedly making What Women Want Movie small changes to a model unit (see claymation What Women Want Movie 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 frames per second, there is an illusion of continuous movement (due to the persistence of What Women Want Movie vision). Generating such a film is very labour intensive and What Women Want Movie tedious, What Women Want Movie though the development of computer animation has greatly What Women Want Movie sped up the process.
File formats like GIF, QuickTime, Shockwave and Flash allow animation to be viewed on a computer or over the Internet.
Because animation What Women Want Movie is very time-consuming and often very expensive to produce, What Women Want Movie the majority of animation for TV and movies comes from professional animation studios. However, What Women Want Movie the field of independent animation has existed at least since the What Women Want Movie 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 What Women Want Movie is a way What Women Want Movie of increasing production and decreasing costs of animation by using "short cuts" in the animation process. This method was pioneered by UPA and popularized What Women Want Movie by Hanna-Barbera, and adapted by other studios as cartoons moved What Women Want Movie from What Women Want Movie movie theaters to television.[3]
Although most animation studios are now using digital technologies in their productions, there is What Women Want Movie a specific style of animation that depends on film. What Women Want Movie Cameraless animation, made famous by moviemakers like What Women Want Movie Norman McLaren, Len Lye What Women Want Movie and Stan What Women Want Movie Brakhage, is painted and 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 What Women Want Movie in a movie theater What Women Want Movie or cinema. The first theater designed exclusively for cinema opened in Pittsburgh, Pennsylvania in 1905.[4] Thousands of What Women Want Movie such theaters were built or converted from existing facilities within a few years.[5] In the United States, these theaters What Women Want Movie came to be known as nickelodeons, What Women Want Movie because admission typically cost a nickel (five cents).
Typically, one film is the featured presentation (or feature film). Before the What Women Want Movie 1970s, there were "double features"; typically, a high quality "A What Women Want Movie 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. Today, What Women Want Movie the bulk of the material shown before the feature film consists of What Women Want Movie previews for upcoming movies and paid advertisements (also known as trailers or "The Twenty").
Historically, all mass What Women Want Movie marketed feature films What Women Want Movie were made to be shown What Women Want Movie in movie theaters. The development of television has allowed films to be broadcast to larger audiences, usually after the What Women Want Movie film is no longer being shown What Women Want Movie in theaters. Recording technology has What Women Want Movie also enabled consumers to What Women Want Movie rent or buy copies of films on VHS or DVD (and What Women Want Movie the older formats of laserdisc, VCD and SelectaVision � see also videodisc), and Internet downloads What Women Want Movie may be available and have What Women Want Movie started to become revenue sources for the film companies. Some films are now made What Women Want Movie specifically for these other venues, being released as made-for-TV movies or direct-to-video movies. The production values on these films are often considered to be of inferior quality compared to What Women Want Movie theatrical releases in similar What Women Want Movie genres, and indeed, some films that are rejected by What Women Want Movie their own studios upon completion are What Women Want Movie distributed through these markets.
The movie theater pays an average of about 50-55% of What Women Want Movie its ticket sales What Women Want Movie to the movie studio, What Women Want Movie as What Women Want Movie film rental fees.[6] The actual percentage What Women Want Movie starts with a number higher than that, and decreases as the duration of a film's showing continues, as an incentive to theaters to keep movies in the theater longer. However, today's barrage of highly What Women Want Movie marketed movies ensures that most movies are What Women Want Movie shown in first-run theaters What Women Want Movie for less than 8 weeks. What Women Want Movie There are a few movies every year What Women Want Movie that defy this rule, often limited-release movies that start in only What Women Want Movie a few theaters and actually What Women Want Movie grow their theater What Women Want Movie count through good word-of-mouth and reviews. According to a 2000 study by ABN AMRO, about 26% of Hollywood movie studios' worldwide income came from box office ticket sales; 46% came from VHS and DVD sales to consumers; and What Women Want Movie 28% came from television What Women Want Movie (broadcast, cable, What Women Want Movie and pay-per-view).[6]
Future state
While motion picture films have been around for more than a century, film is still a relative newcomer in the pantheon What Women Want Movie of fine arts. In the 1950s, when television became widely available, industry analysts predicted the demise of local What Women Want Movie movie theaters. Despite competition 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, when the widespread availability of inexpensive videocassette recorders enabled people to select films 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 theater amplification systems with surround sound and subwoofers, and large LCD or plasma screens enabled people to select and view films at home with greatly improved audio and visual reproduction. These new technologies provided audio and visual that in the past only local cinemas had been able to provide: What Women Want Movie a large, Elf Movie Clip clear widescreen presentation of a film with a full-range, What Women Want Movie high-quality multi-speaker sound system. Once again industry analysts predicted the What Women Want Movie demise of the What Women Want Movie local cinema. Local cinemas will be changing in the 2000s and moving What Women Want Movie towards What Women Want Movie digital screens, What Women Want Movie a new approach which What Women Want Movie will allow for easier and quicker distribution of films (via satellite or hard disks), a development which may give local theaters a reprieve from their predicted demise.
The What Women Want Movie cinema now faces a new challenge from home video by What Women Want Movie the likes of a new DVD format Blu-ray, which can provide Disney Movie Rewards Club full HD 1080p video playback at near cinema What Women Want Movie quality. Video formats are gradually catching up with the resolutions and quality that film offers, 1080p in Blu-ray offers a pixel resolution of 1920?1080 a leap from the DVD offering of 720?480 and the What Women Want Movie paltry 330?480 offered by the first home video standard VHS. The maximum resolutions that film What Women Want Movie currently offers are 2485?2970 or 1420?3390, UHD, a future digital video format, will offer a massive resolution of 7680?4320, surpassing all current film resolutions. The only viable What Women Want Movie competitor to these What Women Want Movie new innovations is IMAX which can play film content at an extreme 10000?7000 resolution.
Despite the rise of all new technologies, the development of the home video market and a What Women Want Movie surge of online piracy, 2007 was a record year What Women Want Movie in film that showed the highest ever box-office grosses. Many expected film to suffer as What Women Want Movie a result of the effects listed above but it What Women Want Movie has flourished, strengthening |
