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{{अनुवाद}}
{{World Cinema}}
[[Image:BolexH16.jpg|right|thumb|133px|च्ह्हगूच्ह्हगू [[16 mm film|16 mm]] spring-wound [[Bolex]] H16 Reflex camera, a popular introductory camera in [[film school]]s]]
'''संकिपा''' (Motion Picture) धागु २०औं व २१औं शताब्दीयागु दक्ले अप्व न्ह्याइपुइकिगु साधनय् छगु खः। '''Film''' encompasses individual motion pictures, the field of film as an [[art]] form, and the [[film industry|motion picture industry]]. Films are produced by [[recording]] images from the world with [[camera]]s, or by creating images using [[animation]] techniques or [[special effect]]s.
 
==स्वयादिसँ==
Films are [[cultural artifact]]s created by specific [[culture]]s, which reflect those cultures, and, in turn, affect them. Film is considered to be an important [[art]] form, a source of popular entertainment and a powerful method for [[documentary film|educating]] — or [[propaganda|indoctrinating]] — citizens. The visual elements of cinema gives motion pictures a universal power of communication. Some films have become popular worldwide attractions by using [[Dubbing (filmmaking)|dubbing]] or [[subtitles]] that [[translation|translate]] the dialogue.
* [[संस्कृति]]
Traditional films are made up of a series of individual images called frames. When these images are shown rapidly in succession, a viewer has the illusion that motion is occurring. The viewer cannot see the flickering between [[film frame|frames]] 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. Viewers perceive motion due to a psychological effect called [[beta movement]].
 
[[पुचः:संकिपा]]
The origin of the name "film" comes from the fact that [[photographic film]] (also called [[film stock]]) had historically been the primary [[Recording medium|medium]] for recording and displaying motion pictures. Many other terms exist for an individual motion picture, including ''picture'', ''picture show'', ''photo-play'', ''flick'', and most commonly, ''movie''. Additional terms for the field in general include ''the big screen'', ''the silver screen'', ''the cinema'', and ''the movies''.
 
[[en:Film]]
== History ==
{{main|History of film}}
 
Preceding film by thousands of years, [[plays]] and [[dances]] had elements common to film, [[scripts]], [[sets]], [[costumes]], [[production]], [[direction]], [[actors]], [[audiences]], [[storyboards]], and [[scores]]. Much terminology later used in film theory and criticism applied, such as [[mise en scene]] (roughly, the entire visual picture at any one time). Moving visual and aural images were not recorded for replaying as in film.
 
Near the year 1600, the [[camera obscura]] was perfected by [[della Porta]]. Light is inverted through a small hole or [[lens]] from outside, and projected onto a surface or screen, creating a moving image, but it is not preserved in a recording.
 
In the 1860s, mechanisms for producing artificially created, 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 lantern]]s) 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]].
 
[[Image:LouisLePrinceFirstFilmEver.png|thumb|200px|left|A frame from ''[[Roundhay Garden Scene]]'', the world's earliest film, by [[Louis Le Prince]], 1888]]
 
With the development of [[celluloid]] film for still [[photography]], it became possible to directly capture objects in motion in real time. 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 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 [[Movie camera|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 [[movie projector|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 [[Shot (filming)|shot]]s that showed an event or action with no [[Film editing|editing]] or other cinematic techniques.
 
Ignoring Dickson's early sound experiments (1894), commercial motion pictures were purely [[visual arts|visual art]] through the late 19th century, but these innovative [[silent film]]s had gained a hold on the public imagination. Around the turn of the twentieth century, films began developing a narrative structure by stringing [[Scene (filming)|scenes]] together to tell [[narrative]]s. 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 [[piano|pianist]] or [[organ (music)|organist]] or a full [[orchestra]] to play music fitting the mood of the film at any given moment. By the early 1920s, most films came with a prepared list of sheet music for this purpose, with complete [[film score]]s being composed for major productions.
[[Image:Le Voyage dans la lune.jpg|thumb|200px|A shot from [[Georges Méliès]] ''[[Le Voyage dans la Lune]] (A Trip to the Moon)'' (1902), an early narrative 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]], [[Friedrich Wilhelm Murnau|F. W. Murnau]], and [[Fritz Lang]], along with American 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 [[soundtrack]] of speech, music and [[sound effects]] synchronized with the action on the screen. These [[sound film]]s were initially distinguished by calling them "talking pictures", or ''talkies''.
 
The next major step in the development of cinema was the introduction of so-called "natural" [[color motion picture film|color]]. While the 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,{{Fact|date=February 2007}} 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 as essential to attracting audiences in its competition with television, which remained a black-and-white medium until the mid-1960s. By the end of the 1960s, color had become the norm for film makers.
 
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 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.
 
== Theory ==
{{main|Film theory}}
 
Film 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]], [[Béla Balázs]], and [[Siegfried Kracauer]], emphasized how film differed from reality, and thus could be considered a valid fine art. [[André Bazin]] reacted against this theory by arguing that film's artistic essence lay in its ability to mechanically reproduce reality not in its differences from reality, and this gave 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 [[psychoanalytical film theory]], [[structuralist film theory]], [[feminist film theory]] and others.
 
===Language===
 
Film is considered to have its own [[language]]. [[James Monaco]] wrote a classic text on film theory titled "''How to '''Read''' a Film''". Director [[Ingmar Bergman]] famously said, "''[Andrei] [[Tarkovsky]] for me is the greatest [director], the one who invented a '''new language''', true to the nature of film, as it captures life as a reflection, life as a dream''." Examples of the language are a sequence of back and forth images of one actor's left profile speaking, followed by another actor’s right profile speaking, then a repetition of this, which is a language understood by the audience to indicate a conversation. Another example is zooming in on the forehead of an actor with an expression of silent reflection, then changing to a scene of a younger version of the actor, indicating the actor is having a memory of their own past.
 
===Montage===
{{Main|Montage}}
 
Parallels to musical counterpoint have been developed into a theory of [[montage]], extended from the complex superimposition of images in early silent film{{Fact|date=September 2008}} to even more complex incorporation of musical counterpoint together with visual counterpoint through [[mise en scene]] and [[editing]], as in a [[ballet]] or [[opera]]; e.g., as illustrated in the gang fight scene of director [[Francis Ford Coppola]]’s film, ''[[Rumblefish]]''.
 
=== Criticism ===
{{main|Film criticism}}
 
Film criticism is the analysis and evaluation of films. In general, these works can be divided into two categories: academic criticism by film scholars and journalistic film criticism that appears regularly in [[newspaper]]s and other media.
 
Film critics working for [[newspaper]]s, [[magazine]]s, and [[broadcast media]] mainly review new releases. Normally they only see any given film once and have only a day or two to formulate opinions. Despite this, critics have an important impact on films, especially those of certain [[film genre|genre]]s. Mass marketed [[action film|action]], [[horror film|horror]], and [[comedy film]]s tend not to be greatly affected by a critic's overall judgment of a film. The plot summary and description of a film that makes up the majority of any film review can still have an important impact on whether people decide to see a film. For prestige films such as most [[drama film|drama]]s, the influence 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 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 which 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 line of work is more often known as [[film theory]] or film studies. These film 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. They also tend to be affiliated with colleges or universities.
 
== Industry ==
{{main|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 France, the [[Auguste and Louis Lumière|Lumières]] 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 {{Fact|date=November 2007}} 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 [[movie theater|theaters]] and companies formed specifically to produce and distribute films, while motion picture actors became major [[celebrity|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, California|Hollywood]]. Other regional centers exist in many parts of the world, such as [[Mumbai]]-centered [[Bollywood]], the [[Cinema of India|Indian film industry's]] [[Hindi]] cinema which produces the largest number of films in the world.<ref>[http://www.cnn.com/2004/WORLD/asiapcf/04/07/india.sexywood/index.html Bollywood Hots Up] cnn.com. Retrieved June 23, 2007</ref> Whether the ten thousand-plus feature length films a year produced by the [[San Fernando Valley|Valley]] [[pornographic film]] industry should qualify for this title is the source of some debate.{{Fact|date=February 2007}} Though the expense involved in making movies has led cinema production to concentrate under the auspices of [[movie studio]]s, 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 and risky nature of filmmaking; many films have large [[cost overruns]], a notorious example being Kevin Costner's [[Waterworld]]. 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.
 
There is also a large industry for educational and instructional films made in lieu of or in addition to lectures and texts.
 
==Associated fields==
{{See|Film history| Film criticism|Film theory|Product placement|Propaganda}}
Derivative academic Fields of study may both interact with and develop independently of filmmaking, as in [[film theory]] and analysis. Fields of academic study have been created that are derivative or dependent on the existence of film, such as [[film criticism]], [[film history]], divisions of film [[propaganda]] in authoritarian governments, or psychological on [[subliminal effects]] of a flashing soda can during a screening. These fields may further create derivative fields, such as a [[movie review]] section in a newspaper or a [[television guide]]. Sub-industries can [[spin off]] from film, such as popcorn makers, and toys. Sub- industries of pre-existing industries may deal specifically with film, such as [[product placement]] in [[advertising]].
 
==Terminology used regarding film==
 
Most people use “film” and “movie” interchangeably. “Film” is more often used when considering [[artistic]], [[theoretical]], or [[technical]] aspects, as studies in a university class. “Movies” more often refers to [[entertainment]] or [[commercial]] aspects, as where to go for fun on a date. For example, a book titled “How to Read a Film” would be about the aesthetics or theory of film, while “Lets Go to the Movies” would be about the history of entertaining movies. “[[Motion pictures]]” or “[[Moving pictures]]” are films and movies. A “[[DVD]]”, “[[videotape]]”, “[[video]]”, or “[[vid]]” is a digital reproduction of an analogue film, or a product with all of the elements of an analogue film but made in an electromagnetic storage medium. “Film” and “video” may be used interchangeably when the video is of sufficient quality, or is the original medium of recording. “[[Silent films]]” need not be silent, but are films and movies without an audible dialogue, though they may have a musical soundtrack. “[[Talkies]]” refers to early movies or films having [[audible]] [[dialogue]] or [[analogue sound]], not just a [[musical accompaniment]]. “[[Cinema (disambiguation)|Cinema]]” either broadly encompasses both films and movies, or is roughly synonymous with “Film”, both capitalized when referring to a category of art. The “[[silver screen]]” refers to classic black and white films before color, not to contemporary films without color.
 
The expression “[[Sight and Sound]]”, as in the film journal of the same name, means “film”. The following icons mean film - a “[[candle and bell]]”, as in the films [[Tarkovsky]], of a segment of [[film stock]], or a two faced [[Janus]] image, and an image of a movie camera in profile.
 
“[[Widescreen]]” and “[[Cinemascope]]” refers to a larger width to height in the [[frame]], compared to an earlier historic [[aspect ratio]]s. A “[[feature length film]]”, or “[[feature film]]”, is of a conventional full length, usually 60 minutes or more, and can commercially stand by itself without other films in a ticketed screening. A “[[short]]” is a film that is not as long as a feature length film, usually screened with other shorts, or preceding a feature length film. A “[[trailer]]” is a very short “short”, or advertisement, preceding a film. An “[[Independent film|independent]]” is a film made outside of the conventional film industry.
 
A “[[screening]]” or “[[projection]]” is the [[projection]] of a film or video on a [[screen]] at a public or private [[theater]], usually but not always of a film, but of a video or DVD when of sufficient projection quality. A “[[double feature]]” is a screening of two independent, [[stand-alone]], feature films. A “[[viewing]]” is a watching of a film. A “[[showing]]” is a screening or [[viewing]] on an electronic [[monitor]]. “[[Sales]]” refers to tickets sold at a theater, or more currently, rights sold for individual showings. A “[[release]]” is the distribution and often simultaneous screening of a film A “[[preview]] is a screening in advance of the main [[release]].
 
“[[Hollywood]]” may be used either as a pejorative adjective, shorthand for asserting an overly commercial rather than artistic intent or outcome, as in “too Hollywood”, or as a descriptive adjective to refer to a film originating with people who ordinarily work near [[Los Angeles]].
 
Expressions for [[Genres]] of film are sometimes used interchangeably for “film” in a specific context, such as a “[[porn]]” for a film with explicit sexual content, or “[[cheese]]” for films that are light, entertaining, and not [[highbrow]].
 
=== Preview ===
 
A preview performance refers to a showing of a movie to a select audience, usually for the purposes of corporate promotions, before the public film premiere itself. Previews are sometimes used to judge audience reaction, which if unexpectedly negative, may result in recutting or even refilming certain sections ([[Audience response]]).
 
=== Trailer ===
{{main|Trailer (film)}}
 
Trailers or previews are film advertisements for films that will be exhibited in the future at a cinema, on whose screen they are shown. The term "trailer" comes from their having originally been shown at the end of a film programme. That practice did not last long, because patrons tended to leave the theater after the films ended, but the name has stuck. Trailers are now shown before the film (or the A movie in a double feature program) begins.
 
===Film, or other art form?===
Film may be combined with [[performance art]] and still be considered or referred to as a “film”. For example, when there is a live musical accompaniment to a silent film. Another example is audience participation films, as at a [[midnight movies]] screening of ''[[The Rocky Horror Picture Show]] '', where the audience dresses up in costume from the film and loudly does a [[karaoke]]-like reenactment along with the film. Performance art where film is incorporated as a component is usually not called film, but a film, which could stand-alone but is accompanied by a performance may still be referred to as a film.
 
The act of making a film can, in and of itself, be considered a work of art, on a different level from the film itself, as in the films of [[Werner Herzog]].
 
Similarly, the playing of a film can be considered to fall within the realm of political protest art, as in the subtleties within the films of [[Tarkovsky]]. A “road movie” can refer to a film put together from footage from a long road trip or vacation.
 
==Education and Propaganda==
{{Main|Education|Propaganda}}
 
Film is used for education and propaganda. When the purpose is primarily educational, a film is called an "educational film". Examples are recordings of lectures and experiments, or more marginally, a film based on a classic novel.
 
Film may be [[propaganda]], in whole or in part, such as the films made by [[Leni Riefenstahl]] in Nazi Germany, US war film trailers during World War II, or artistic films made under Stalin by [[Eisenstein]]. They may also be works of political protest, as in the films of [[Wajda]], or more subtly, the films of [[Andrei Tarkovsky]].
 
The same film may be considered educational by some, and propaganda by others, such as some of the films of [[Michael Moore]].
 
== Production ==
{{main|Filmmaking}}
 
The nature of the film determines the size and type of crew required during filmmaking. Many [[Hollywood]] [[adventure film]]s need [[computer generated imagery]] (CGI), created by dozens of [[3D modelling|3D modellers]], [[animation|animators]], [[rotoscope]]rs and compositors. However, a low-budget, independent film may be made with a skeleton crew, often paid very little. Also, an [[open source film]] may be produced through open, collaborative processes. 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]] is comprised of five main stages:
 
# [[Script development|Development]]
# [[Pre-production]]
# [[Film production|Production]]
# [[Post-production]]
# [[Film distributor|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''.
 
=== Crew ===
{{main|Film crew}}
 
A film crew is a group of people hired by a film company, employed during the "production" or "photography" phase, for the purpose of producing a film or motion picture. ''Crew'' are distinguished from ''cast'', the [[actor]]s who appear in front of the [[camera]] or provide voices for characters in the film. The ''crew'' interacts with but is also distinct from the ''production staff,'' consisting of producers, managers, company representatives, their assistants, and those whose primary responsibility falls in pre-production or post-production phases, such as 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 for interaction and cooperation between the departments. Other than acting, the crew handles everything in the photography phase: props and costumes, shooting, sound, electrics (i.e., lights), sets, and production special effects. Caterers (known in the film industry as "craft services") are usually not considered part of the crew.
 
=== Technology ===
[[Film stock]] consists of transparent [[celluloid]], [[acetate]], or [[polyester]] [[film base|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 film|35&nbsp;mm]] prints.
 
Originally moving picture film was shot and projected at various speeds using hand-cranked [[movie camera|cameras]] and [[movie projector|projectors]]; though 1000 frames per minute (16⅔ frame/s) is generally cited as a standard silent speed, research indicates most films were shot between 16 frame/s and 23 frame/s and projected from 18 frame/s on up (often reels included instructions on how fast each scene should be shown)<ref>[http://www.cinemaweb.com/silentfilm/bookshelf/18_car_1.htm Silent Film Speed<!-- Bot generated title -->]</ref>. 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 [[film stock|filmstock]]s and [[Lens (optics)|lenses]], allowing [[Film director|director]]s 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 (signal)|analog]] [[video]] technology similar to that used in television production. Modern [[Digital video|digital video camera]]s and [[digital projector]]s 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.
 
=== Independent ===
{{main|Independent film}}
 
[[Image:Fratelli Lumiere.jpg|thumb|200px|[[Lumière|The Lumière Brothers]]]]
 
Independent filmmaking often takes place outside of Hollywood, or other major [[studio system]]s. An independent film (or indie film) is a film initially produced without financing or distribution from a [[list of Hollywood movie studios|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.
 
On the business side, the costs of big-budget studio films also leads to conservative choices in cast and crew. There is a trend in Hollywood towards co-financing (over two-thirds of the films put out by [[Warner Bros.]] in 2000 were joint ventures, up from 10% in 1987).<ref name="VARIETY_2003">[http://www.variety.com/index.asp?layout=print_story&articleid=VR1117895718&categoryid=10 Sharing Pix is Risky Business] variety.com. Retrieved June 23, 2007.</ref> A hopeful director is almost never given the opportunity to get a job on a big-budget studio film unless he or she has significant industry experience in film or television. Also, the studios rarely produce films with unknown actors, particularly in lead roles.
 
Before the advent of [[digital cinematography|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.
 
But the advent of consumer [[camcorder]]s 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 [[DVD]]s, [[FireWire]] connections and [[non-linear editing system]] pro-level software like [[Adobe Premiere Pro]], [[Sony Vegas]] and Apple's [[Final Cut Pro]], and consumer level software such as Apple's [[Final Cut Express]] 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. The arrival 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|Open content film}}
 
An open content film is much like an independent film, but it is produced through open collaborations; its source material is available under a [[license]] which is 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 system]]s.
 
=== Fan film ===
{{main|Fan film}}
 
A fan film is a film or video inspired by a film, [[television program]], [[comic book]] or a similar source, created by [[fan (aficionado)|fans]] rather than by the source's copyright holders or creators. Fan filmmakers have traditionally been [[amateur]]s, 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 ==
{{main|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.
 
[[File format]]s like [[Graphics Interchange Format|GIF]], [[Apple QuickTime|QuickTime]], [[Macromedia Shockwave|Shockwave]] and [[Macromedia Flash|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 [[Television|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 [[United Productions of America|UPA]] and popularized by [[Hanna-Barbera]], and adapted by other studios as cartoons moved from [[movie theater]]s to [[television]].<ref>{{cite web |url= http://news.bbc.co.uk/1/hi/entertainment/6193603.stm|title= Hanna Barbera's golden age of animation|accessdate=2007-01-25 |last= Savage |first= Mark |date= 2006-12-19|year= 2006|month= 12|format= |work= |publisher= BBC News|pages= |language= }}</ref>
 
Although most animation studios are now using digital technologies in their productions, there is a specific style of animation that depends on film. Cameraless animation, made famous by moviemakers like [[Norman McLaren]], [[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 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.<ref>{{cite web |url= http://www.post-gazette.com/pg/05170/522854.stm |title= You saw it here first: Pittsburgh's Nickelodeon introduced the moving picture theater to the masses in 1905|accessdate=2007-01-25 |author= Timothy McNulty|authorlink= |coauthors= |date= 2005-06-19|year= 2005|month= 05|format= |work= |publisher= Pittsburgh Post-Gazette|pages= |language= |archiveurl= |archivedate= |quote= }}</ref> Thousands of such theaters were built or converted from existing facilities within a few years.<ref>{{cite web |url= http://www.lib.umd.edu/RARE/Exhibits/Headley/styles1.html|title= Pre-Nickelodeon/Nickelodeon|accessdate=2007-01-25 |author= |authorlink= |coauthors= |date= 2005-07-05|year= 2005|month= 07|format= |work= |publisher= University of Maryland Libraries |pages= |language= |archiveurl= |archivedate= |quote= }}</ref> In the [[United States]], these theaters came to be known as [[Nickelodeon movie theater|nickelodeons]], because admission typically cost a nickel (five cents).
 
Typically, one film is the featured presentation (or [[feature film]]). Before the 1970s, there were "double features"; typically, a high quality "A picture" rented by an independent theater for a lump sum, and a "B picture" of lower quality rented for a percentage of the gross receipts. Today, the bulk of the material shown before the feature film consists of previews for upcoming movies and paid advertisements (also known as [[trailer (movie)|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 being shown in theaters. Recording technology has also enabled consumers to rent or buy copies of films on [[video tape|VHS]] or [[DVD]] (and the older formats of [[laserdisc]], [[Video CD|VCD]] and [[SelectaVision]] — see also [[videodisc]]), and [[Internet]] [[download]]s 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 [[television movie|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 theatrical releases in similar genres, and indeed, some films that are rejected by their own 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.<ref name="PBS">[http://www.pbs.org/wgbh/pages/frontline/shows/hollywood/business/windows.html PBS Frontline: The Monster that Ate Hollywood: Anatomy of a Monster: Now Playing ... And Playing ... And Playing ...] pbs.org. Retrieved June 23, 2007</ref> 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).<ref name="PBS"/>
 
== Future state ==
While motion picture films have been around for more than a century, film is still a relative newcomer in the pantheon of [[fine art]]s. In the 1950s, when television became widely available, industry analysts predicted the demise of local 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 fact with the rise of television's predominance, film began to become more respected as an artistic medium by contrast due the low general opinion of the quality of average television content. 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: a large, clear widescreen presentation of a film with a full-range, high-quality multi-speaker sound system. Once again industry analysts predicted the demise of the local cinema. Local cinemas will be changing in the 2000s and moving towards digital screens, a new approach which 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 cinema now faces a new challenge from home video by the likes of a new DVD format [[Blu-ray]], which can provide full [[High-definition video|HD]] [[1080p]] video playback at near cinema 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 paltry 330×480 offered by the first home video standard [[VHS]]. The maximum resolutions that film currently offers are 2485×2970 or 1420×3390, [[Ultra High Definition Video|UHD]], a future digital video format, will offer a massive resolution of 7680×4320, surpassing all current film resolutions. The only viable competitor to these 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 surge of online copyright infringement, 2007 was a record year in film that showed the highest ever box-office grosses. Many expected film to suffer as a result of the effects listed above but it has flourished, strengthening film studio expectations for the future.
 
== See also ==
{{Portal|Film|Video-x-generic.svg}}
* [[:Category:Film]]
* [[List of basic film topics]]
* [[List of film topics]]
* [[List of video-related topics]]
* [[Lists of films]]
* [[List of years in film]]
* [[List of film awards]]
* [[List of film festivals]]
* [[List of film journals and magazines]]
* [[Cinematic techniques]]
* [[Digital cinema]]
* [[Lost film]]
* [[Web film]]
 
== Notes ==
{{reflist}}
 
== References ==
{{refbegin}}
* {{cite book|author=Acker, Ally|title=Reel Women: Pioneers of the Cinema, 1896 to the Present|location=New York|publisher=Continuum|year=1991|isbn=0826404995}}
* {{cite book|author=Basten, Fred E.|title=Glorious Technicolor: The Movies' Magic Rainbow|location=Cranbury, NJ|publisher=AS Barnes & Company|year=1980|isbn=0498023176}}
* {{cite video |people=Basten, Fred E. (writer); Peter Jones (director and writer); Angela Lansbury (narrator)|year=1998 |title=Glorious Technicolor |url=http://imdb.com/title/tt0274530/ |medium=Documentary |publisher=Turner Classic Movies }}
* {{cite book|author=Casetti, Francesco|title=Theories of Cinema, 1945-1995|location=Austin, TX|publisher=University of Texas Press|year=1999|isbn=0292712073}}
* {{cite book|author=Cook, Pam|title=The Cinema Book, Third Edition|location=London|publisher=British Film Institute|year=2007|isbn=9781844571932}}
* {{cite book|author=Faber, Liz, & Walters, Helen|title=Animation Unlimited: Innovative Short Films Since 1940|location=London|publisher=Laurence King, in association with Harper Design International |year=2003|isbn=1856693465}}
* {{cite book|author=Hagener, Malte, & Töteberg, Michael|title=Film: An International Bibliography|location=Stuttgart|publisher=Metzler|year=2002|isbn=3476015238 }}
* {{cite book|author=Hill, John, & Gibson, Pamela Church|title=The Oxford Guide to Film Studies|location=Oxford; New York|publisher=Oxford University Press|year=1998|isbn=0198711247}}
* {{cite book|author=King, Geoff|title=New Hollywood Cinema: An Introduction|location=New York|publisher=Columbia University Press|year=2002|isbn=0231127596}}
* {{cite book|author=Ledoux, Trish, & Ranney, Doug, & Patten, Fred|title=Complete Anime Guide: Japanese Animation Film Directory and Resource Guide|location=Issaquah, WA|publisher=Tiger Mountain Press|year=1997|isbn=0964954257}}
* {{cite book|author=Merritt, Greg|title=Celluloid Mavericks: A History of American Independent Film|location=New York|publisher=Thunder's Mouth Press|year=2000|isbn=1560252324 }}
* {{cite book|author=Nowell-Smith, Geoffrey|title=The Oxford History of World Cinema|location=Oxford; New York|publisher=Oxford University Press|year=1999|isbn=0198742428}}
* {{cite book|author=Rocchio, Vincent F.|title=Reel Racism: Confronting Hollywood's Construction of Afro-American Culture|location=Boulder, CO|publisher=Westview Press|year=2000|isbn=0813367107}}
* {{cite journal|author=[[Paul Schrader|Schrader, Paul]]|month=Spring|year = 1972| title = Notes on Film Noir| journal = Film Comment| volume = Vol. 8| issue = Issue 1| pages= pp. 8–13| issn=0015-119X }}
* {{cite video |people=Schultz, John (writer and director); James Earl Jones (narrator)|year=1995 |title=The Making of 'Jurassic Park' |url=http://imdb.com/title/tt0256908/ |medium=Documentary |publisher=Amblin Entertainment }}
* {{cite book|author=Thackway, Melissa|title=Africa Shoots Back: Alternative Perspectives in Sub-Saharan Francophone African Film|location=Bloomington, IL|publisher=Indiana University Press|year=2003|isbn=0852555768}}
* {{cite book|author=Vogel, Amos|authorlink=Amos Vogel|title=[[Film as a Subversive Art]]|location=New York|publisher=Random House|year=1974|isbn=0394490789 }}
{{refend}}
 
== External links ==
{{wikinewshas|related '''[[wikinews:Portal:Film|Film news]]'''}}
{{sisterlinks}}
<!--Links ordered alphabetically-->
<!--NEW LINKS SHOULD NOT BE ADDED WITHOUT PRIOR DISCUSSION ON TALK PAGE AND WILL BE DELETED OTHERWISE-->
* [http://www.allmovie.com All Movie Guide] - Information on films: actors, directors, biographies, reviews, cast and production credits, box office sales, and other movie data.
* [http://www.filmsite.org Film Site] - Reviews of classic films
* [http://imdb.com/ The Internet Movie Database (IMDb)] - Information on current and historical films and cast listings.
* {{dmoz|Arts/Movies/|Movies}}
* [http://www.rottentomatoes.com Rottentomatoes.com] - Movie reviews, previews, forums, photos, cast info, and more.
<!--NEW LINKS SHOULD NOT BE ADDED WITHOUT PRIOR DISCUSSION ON TALK PAGE AND WILL BE DELETED OTHERWISE-->
 
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