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This article is about motion pictures. For other uses of "film", see photographic film or film (disambiguation).

File:Film reel and film.jpg

"Film" refers to the celluloid media on which movies are printed. This type of film here is 8mm.

Film is a term that encompasses motion pictures as individual projects, as well as the field in general. The origin of the name comes from the fact that photographic film (also called filmstock) has historically been the primary medium for recording and displaying motion pictures. Many other terms exist — motion pictures (or just pictures or "picture"), the silver screen, photoplays, the cinema, picture shows, flicks — and commonly movies.

Films are produced by recording actual people and objects with cameras, or by creating them using animation techniques and/or special effects. They comprise a series of individual frames, but when these images are shown rapidly in succession, the illusion of motion is given to the viewer. Flickering between frames is not seen due to an effect known as persistence of vision — whereby the eye retains a visual image for a fraction of a second after the source has been removed. Also of relevance is what causes the perception of motion — a psychological effect identified as beta movement.

Film is considered by many to be an important art form; films entertain, educate, enlighten and inspire audiences. The visual elements of cinema need no translation, giving the motion picture a universal power of communication. Any film can become a worldwide attraction, especially with the addition of dubbing or subtitles that translate the dialogue. Films are also artifacts created by specific cultures, which reflect those cultures, and, in turn, affect them.

History of film

Mechanisms for producing artificially created, two-dimensional images in motion were demonstrated as early as the 1860s, 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 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 achieve the desired effect — and the underlying principle became the basis for the development of film animation.

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 the viewer to look into a special device to see the pictures. By the 1880s, the development of the motion picture camera allowed the individual component images to be captured and stored on a single 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 entire audience. These reels, so exhibited, came to be known as "motion pictures". Early motion pictures were static shots that showed an event or action with no editing or other cinematic techniques.

Motion pictures were purely visual art up to the late 1920s, but these innovative silent films had gained a hold on the public imagination. Around the turn of the 20th Century, films began developing a narrative structure. Films began stringing scenes together 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 on film. Rather than leave the audience in silence, theater owners would hire a pianist or organist or a full orchestra to play music fitting the mood of the film at any given moment. By the early 1920s, most films came with a prepared list of sheet music for this purposes, with complete film scores being composed for major productions.

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 and F. W. Murnau continued to advance the medium. In the 1920s, new technology allowed filmmakers to attach to each film a soundtrack of speech, music and sound effects synchronized with the action on the screen. These sound films were initially distinguished by calling them "talking pictures", or talkies.

The next major step in the development of cinema was the introduction of color. While the addition of sound quickly eclipsed silent film and theater musicians, color was adopted more gradually. The public was relatively indifferent to color photography as opposed to black-and-white. But 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 an essential to attracting audiences in its competition with television, which remained a black-and-white medium until the mid-60s. By the end of the 1960s, color had become the norm for film makers.

The 1950s, 60s and 70s saw changes in the production and style of film. New Hollywood, French New Wave and the rise of film school educated, independent filmmakers were all part of the changes the medium experienced in the latter half of the 20th Century. Digital technology has been the driving force in change throughout the 1990s and into the 21st Century.

Film theory

Film theory seeks to develop concise, systematic concepts that apply to the study of film/cinema as art. Classical film theory provides a structural framework to address classical issues of techniques, narrativity, diegesis, cinematic codes, "the image", genre, subjectivity, and authorship. More recent analysis has given rise to psychoanalytical film theory, structuralist film theory, feminist film theory and others.

Film criticism

Film criticism is the analysis and evaluation of films. In general this can be divided into academic criticism by film scholars and journalistic film criticism that appears 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 of films, especially those of certain genres. Mass marketed action, horror, and comedy films tend not to be greatly affected by a critic's overall judgement 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 prestige films such as most dramas, the influence of reviews is extremely important. Poor reviews will often deign a film to obscurity and financial loss.

The impact of reviewer on a 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 some heavily-promoted movies that were harshly reviewed, as well as the unexpected success of critically praised independent movies indicates that extreme 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 in which film companies have so little confidence 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 the tactic and warn the public that the film may not be worth seeing and the films often do poorly as a result.

It is argued that journalist film critics should only be known as film reviewers, and true film critics are those who take a more academic approach to films. This work is more often known as film theory or film studies. These film critics try to come to understand why film works, how it works, and what effects it has on people. Rather than write for newspaper or appear on television their articles are published in scholarly journals, or sometimes in up-market magazines. They also tend to be affiliated with colleges or universities.

The motion picture industry

The making and showing of motion pictures became a source of profit almost as soon the process was invented. Upon seeing how successful their new invention, and its product, 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 local entrepreneurs in the various countries of Europe to buy their equipment and photograph, export, import and screen additional product commercially. The Oberammergau Passion play of 1898 was the first 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 for their performances. Already by 1917, Charlie Chaplin had a contract that called for an annual salary of one million dollars.

In the United States today, much of the film industry is centered around Hollywood. Other regional centers exist in many parts of the world, and the Indian film industry (primarily centered around "Bollywood") annually produces the largest number of films in the world. Whether the ten thousand plus features a year produced by the Valley porn industry should qualify for this title is the source of some debate. Though the expense involved in making movies has led cinema production to concentrate 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 to the costly nature of filmmaking; yet many filmmakers strive to create works of lasting social significance. The Academy Awards (also 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. Also, film quickly came to be used in education, in lieu of or in addition to lectures and texts.

Stages of filmmaking

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, a low-budget, independent film may be made with a skeleton crew, often paid very little. Filmmaking takes place all over the world using different technologies, styles of acting and genre, and is produced in a variety of economic contexts that range from state-sponsored documentary in China to profit-oriented movie making within the American studio system.

A typical Hollywood-style filmmaking Production cycle comprises five main stages:

Development
Preproduction
Production
Post-production
Distribution

This production cycle typically takes three years. The first year is taken up with development. The second year comprises preproduction and production. The third year, post-production and distribution.

Film crew

A film crew is a group of people hired by a film company for the purpose 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.

Independent filmmaking

Independent filmmaking takes place outside of the Hollywood, or other major studio systems. An independent film (or indie film) is a film initially produced without financing or distribution from a major movie studio. Creative, business, and technological reasons have all contributed to the growth of the indie film scene in the late 20th and early 21st century.

Creatively, it was becoming increasingly difficult to get studio backing for experimental films. Experimental elements in theme and style are inhibitors for the big studios.

On the business side, the costs of big-budget studio films also leads to conservative choices in cast and crew. The problem is exacerbated by the trend towards co-financing (over two-thirds of the films put out by Warner Bros. in 2000 were joint ventures, up from 10% in 1987). An unproven director is almost never given the opportunity to get his or her big break with the studios unless he or she has significant industry experience in film or television. They also rarely produce films with unknown actors, particularly in lead roles.

Until 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 35mm film is outpacing inflation: in 2002 alone, film negative costs were up 23%, according to Variety. Film requires expensive lighting and post-production facilities.

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 production and post-production costs have been significantly lowered; today, the hardware and software for post-production can be installed in a commodity-based personal computer. Technologies such as DVDs, IEEE 1394 connections and non-linear editing system pro-level software like Adobe Premiere Pro and Final Cut Pro, and consumer level software such as 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 edit a movie, create and edit the sound and music, and mix the final cut on a home computer. However, 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 film festivals to get their films noticed and sold for distribution.

Animation

Animation is the technique in which each frame of a film is produced individually, whether generated as a computer graphic, or by photographing a drawn image, or by repeatedly making small changes to a model unit (see claymation and stop motion), and then photographing the result with a special animation camera. When the frames are strung together and the resulting film is viewed at a speed of 16 or more frames per second, there is an illusion of continuous movement (due to the persistence of vision). Generating such a film is very labour intensive and tedious, though the development of computer animation has greatly sped up the process.

Graphics file formats like GIF, MNG, SVG and Flash allow animation to be viewed on a computer or over the Internet.

Because animation is very time-consuming and often very expensive to produce, the majority of animation for TV and movies comes from professional animation studios. However, the field of independent animation has existed at least 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 a way of increasing production and decreasing costs of animation by using "short cuts" in the animation process. This method was pioneered by UPA and popularized (some say exploited) by Hanna-Barbera, and adapted by other studios as cartoons moved from movie theaters to television.

Film venues

When it is initially produced, a film is normally shown to audiences in a movie theater. The first theater designed exclusively for cinema opened in Pittsburgh, Pennsylvania in 1905. Thousands of such theaters were built or converted from existing facilities within a few years. In the United States, these theaters came to be known as nickelodeons, because admission typically cost a nickel (five cents).

Typically, one film is the featured presentation (or feature film). There were "double features"; typically, a high quality "A picture" rented by an independent theater for a lump sum, and a "B picture" of lower quality rented for a percentage of the gross receipts. Today, the bulk of the material shown before the feature film (those in theaters) consists of previews for upcoming movies and paid advertisements (also known as trailers or "The Twenty").

Originally, all 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 being shown in theaters. Recording technology has also enabled consumers to rent or buy copies of films on video tape or DVD (and the older formats of laserdisc, VCD and SelectaVision—see also videodisc), and Internet downloads may be available and have started to become revenue sources for the film companies. Some films are now made specifically for these other venues, being released as made-for-TV movies or direct-to-video movies. These are often considered to be of inferior quality compared to theatrical releases. And indeed, some films that are rejected by their own studios upon completion are dumped into these markets.

The movie theater pays an average of about 55% of its ticket sales to the movie studio, as film rental fees. The actual percentage 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 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 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 28% came from television (broadcast, cable, and pay-per-view).

Development of film technology

Filmstock consists of a transparent celluloid, polyester, or other plastic base coated with an emulsion containing light-sensitive chemicals. Cellulose nitrate was the first type of film base used to record motion pictures, but due to its flammability 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 projected at various speeds using hand-cranked cameras and projectors; though 16 frames per second is generally cited as a standard silent speed, research indicates most films were shot between 16-23 fps and projected from 18 fps on up (often reels included instructions on how fast each scene should be shown) [1]. When sound film was introduced in the late 1920s, a constant speed was required for the sound head. 24 frames per second was chosen because it was the slowest (and thus 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 speed, quiet camera design - allowing sound recorded on-set to be usable without 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 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 can 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 picture industry is exploring many alternatives. Most movies on cellulose nitrate base have been copied onto modern safety films. 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 Technicolor process). Digital methods have also been used to restore films, although their continued obsolescence cycle makes them (as of 2006) a poor choice for long-term preservation. Film preservation of decaying film stock is a matter of concern to both film historians and archivists, and to companies interested in preserving their existing products in order to make them available to future generations (and thereby increase revenue). Preservation is generally a higher-concern for nitrate and single-strip color films, due to their high decay rates; black and white films on safety bases and color films preserved on Technicolor imbibition prints tend to keep up much better, assuming proper handling and storage.

Some films in recent decades have been recorded using analog video technology similar to that used in television production. Modern digital video cameras and digital projectors are gaining ground as well. These approaches are extremely beneficial to moviemakers, especially because footage can be evaluated and edited without waiting for the film stock to be processed. Yet the migration is gradual, and as of 2005 most major motion pictures are still recorded on film.

Endurance of films

Films have been around for more than a century, however this is not long when you consider it in relation to other arts like painting and sculpture. Many believe that film will be a long enduring art form because motion pictures appeal to diverse human emotions.

Apart from societal norms and cultural changes, there are still close resemblances between theatrical plays throughout the ages and films of today. Romantic motion pictures about a girl loving a guy but not being able to be together for some reason, movies about a hero who fights against all odds a more powerful fiendish enemy, comedies about everyday life, etc. all involve plots with common threads that existed in books, plays and other venues.

The reason motion pictures endure is because people still want escapism, adventure, inspiration, humor and to be moved emotionally. Civilization develops and changes, at least in surface features, and so calls for a constant renewal of artistic means to channel these desires. Films provide them in an accessible and powerful way.

References

Paul Read. A Short History of Cinema Film Post-Production (1896 - 2006). In: Joachim Polzer (editor). Zur Geschichte des Filmkopierwerks. (On Film Lab History). Weltwunder der Kinematographie. Beiträge zu einer Kulturgeschichte der Filmtechnik. Volume 8.2006. April 2006. 336 pages. (available through amazon.de) -- ISBN 3-934535-26-7
Nowell-Smith, Geoffrey (ed.). The Oxford History of World Cinema. Oxford University Press, 1999. ISBN 0198742428
Hagener, Malte, and Töteberg, Michael. Film: An International Bibliography. Stuttgart: Metzler, 2002. ISBN 3-476-01523-8
Vogel, Amos. Film As a Subversive Art. Weidenfeld & Nichols, 1974.
The Oxford History of World Cinema, Oxford University Press, 1999; Geoffrey Nowell-Smith, ed.
Glorious Technicolor: The Movies' Magic Rainbow, Fred E. Basten. AS Barnes & Company, 1980
Reel Women. Pioneers of the Cinema. 1896 to the Present by Ally Acker, London: B.T.Batsford 1991
Reel Racism. Confronting Hollywood's Construction of Afro-American Culture, Vincent F. Rocchio, Westview Press 2000
New Hollywood Cinema: An Introduction, Geoff King . Columbia University Press, 2002.
Notes on Film Noir Paul Schrader. Film Comment. '84?
Celluloid Mavericks: A History of American Independent Film by Greg Merritt; Thunder's Mouth Press 2001
Africa shoots back. Alternative perspectives in sub-saharan francophone african film by Melissa Thackway, Indiana University Press 2003
Glorious Technicolor; directed by Peter Jones. Based on the book (above); written by Basten & Jones. Documentary, (1998).
Francesco Casetti, Theories of Cinema, 1945-1990, Paperback Edition, University of Texas Press 1999
The Oxford Guide to Film Studies, Oxford University Press 1998
Walters Faber, Helen Walters, Algrant (Ed.), Animation Unlimited: Innovative Short Films Since 1940, HarperCollins Publishers 2004
Trish Ledoux, Doug Ranney, Fred Patten (Ed.), Complete Anime Guide: Japanese Animation Film Directory and Resource Guide, Tiger Mountain Press 1997
Steven Spielberg in The making of Jurassic Park

External links

The Internet Movie Database (IMDb) - Information on current and historical films and cast listings.
The Film Guide, an external wiki
Ain't It Cool News - Rumors and reviews about current and upcoming films
AURUM3 Movies - Movie reviews and previews
All Movie Guide - Information on films: actors, directors, biographies, reviews, cast and production credits, box office sales, and other movie data.
AllWatchers - Categorized movie reviews
Movies articles
Box Office Mojo - Box office figures by date and genre, including box office records
So Bad It's Good - Bad movie reviews, clips, screenshots and sounds
CrewPix - Behind the scenes photos from movie shoots, taken by the Film Crews themselves.
Film Site - Reviews of classic films
The Movie Insider Tracks upcoming movies.
The Numbers Box office figures by movie and actor, including box office records
Open Directory Project: Movies
Rotten Tomatoes Film reviews
Yahoo! Movies Information on specific movies, including upcoming movies by title, date, and actor
Motion Pictures - An economic report on Motion pictures
Factbook.net - Discussion of world box office revenues and breakdowns
MovieWeb - News, reviews, gossip, movie stills, images and trailers.
The 1950's-2000's Week-By-Week Complete movie listings from each week of these decades, plus Hollywood news and star tidbits.
'The History of the London Pictures'
Netflix

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 ==References==
+* Paul Read. A Short History of Cinema Film Post-Production (1896 - 2006). In: Joachim Polzer (editor). Zur Geschichte des Filmkopierwerks. (On Film Lab History). Weltwunder der Kinematographie. Beiträge zu einer Kulturgeschichte der Filmtechnik. Volume 8.2006. April 2006. 336 pages. (available through amazon.de) -- ISBN 3-934535-26-7
 *Nowell-Smith, Geoffrey ([[Editor|ed.]]). ''The Oxford History of World Cinema''. [[Oxford University Press]], [[1999]]. ISBN 0198742428
 *Hagener, Malte, and Töteberg, Michael. ''Film: An International Bibliography''. Stuttgart: Metzler, [[2002]]. ISBN 3-476-01523-8