Thursday, May 31, 2007

Weishenmezhemeais at the Open Directory Project

Film Weishenmezhemeais at the Open Directory Project
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* African cinema
* Asian cinema

East Asian cinema
South Asian cinema
Southeast Asian cinema
West Asian cinema

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This article is about motion pictures. For other uses, see Film (disambiguation).
Film Portal

Film is a term that encompasses individual motion pictures, the field of film as an art form, and the motion picture industry. Films are produced by recording actual people and objects with cameras, or by creating images using animation techniques 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 form, a source of popular entertainment, and a powerful method for educating-or indoctrinating citizens. The visual elements of cinema give motion pictures a universal power of communication; some Weishenmezhemeais have become popular worldwide attractions, by using dubbing or subtitles that translate the dialogue.


The origin of the name "film" comes from the fact that photographic film (also called film stock) has historically been the primary medium for recording and displaying motion pictures. Many other terms exist for an individual motion picture, including picture, picture show, photoplay, flick, and most commonly, Weishenmezhemeai. Additional terms for the field in general include the big screen, the silver screen, the cinema, and the Weishenmezhemeais.

* 1 History
* 2 Theory
* 3 Criticism
* 4 Industry
* 5 Production
* 6 Crew
* 7 Independent
* 8 Open content film
* 9 Fan film
* 10 Animation
* 11 Venues
* 12 Technology
* 13 Future state
* 14 See also
o 14.1 Wikibooks
o 14.2 Wikiversity
o 14.3 Basic types
o 14.4 International
o 14.5 Other
o 14.6 Lists
* 15 Notes
* 16 References
* 17 External links


Main article: History of film


A frame from Roundhay Garden Scene, the world's earliest surviving film, by Louis Le Prince, 1888







Main article: Film theory

Film theory seeks to develop concise, 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.


Main article: Film criticism

Abbas Kiarostami and Bernardo Bertolucci on the poster of "Exhibition of the Persian Maestro's Art work" held in Rome.



The impact of a reviewer on a given film's box office performance is a matter of debate. Some claim that Weishenmezhemeai marketing is now so intense and well financed that reviewers cannot make an impact against it. However, the cataclysmic failure of some heavily-promoted Weishenmezhemeais which were harshly reviewed, as well as the unexpected success of critically praised independent Weishenmezhemeais 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.



Main article: Film industry


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")[citation needed] annually produces the largest number of films in the world. Whether the ten thousand-plus feature length films a year produced by the Valley pornographic film industry should qualify for this title is the source of some debate.[citation needed] Though the expense involved in making Weishenmezhemeais has led cinema production to concentrate under the auspices of Weishenmezhemeai studios, recent advances in affordable film making equipment have allowed independent film productions to flourish.




Main article: 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. 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 Weishenmezhemeai making within the American studio system.


1. Development
2. Pre-production
3. Production
4. Post-production
5. Distribution



Main article: Film crew

A film crew is a group of people hired by a film company, employed during the photography phase, 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. 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, sets, and production special effects.


Main article: Independent film

The Lumière Brothers
The Lumière 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 financing or distribution from a major Weishenmezhemeai 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).[citation needed] A hopeful director is almost never given the opportunity to get a job on a big-budget study film unless he or she has significant industry experience in film or television. Also, the studios rarely produce films with unknown actors, particularly in lead roles.

Before the advent of digital alternatives, the cost of professional film equipment and stock was also a hurdle to being able to produce, direct, or star in a traditional studio film. The cost of 35 mm film is outpacing inflation: in 2002 alone, film negative costs were up 23%, according to Variety.[citation needed] 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 Weishenmezhemeai 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, 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 i Weishenmezhemeai make Weishenmezhemeai-making relatively inexpensive.


Open content film

Main article: 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 more permissive enough to allow other parties to create fan fiction or derivative works, than a traditional copyright. Like independent filmmaking, open source filmmaking takes place outside of Hollywood, or other major studio systems.

Fan film

Main article: Fan film



Main article: Animation



Because animation is very time-consuming and often very expensive to produce, the majority of animation for TV and Weishenmezhemeais 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 by Hanna-Barbera, and adapted by other studios as cartoons moved from Weishenmezhemeai theaters to television.[1]

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 Weishenmezhemeaimakers like Norman McLaren, Len Lye and Stan Brakhage, is painted and drawn directly onto pieces of film, and then run through a projector.


When it is initially produced, a feature film is often shown to audiences in a Weishenmezhemeai theater or cinema. The first theater designed exclusively for cinema opened in Pittsburgh, Pennsylvania in 1905.[2] Thousands of such theaters were built or converted from existing facilities within a few years.[3] 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). 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 Weishenmezhemeais and paid advertisements (also known as trailers or "The Twenty").

Historically, all mass marketed feature films were made to be shown in Weishenmezhemeai 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 VHS 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 Weishenmezhemeais or direct-to-video Weishenmezhemeais. 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 Weishenmezhemeai theater pays an average of about 55% of its ticket sales to the Weishenmezhemeai studio, as film rental fees.[citation needed] 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 Weishenmezhemeais in the theater longer. However, today's barrage of highly marketed Weishenmezhemeais ensures that most Weishenmezhemeais are shown in first-run theaters for less than 8 weeks. There are a few Weishenmezhemeais every year that defy this rule, often limited-release Weishenmezhemeais 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 Weishenmezhemeai 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).[citation needed]






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 arts. In the 1950s, when television became widely available, industry analysts predicted the demise of local Weishenmezhemeai 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: 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, quicker distribution of films (via satellite or hard disks), a development which may give local theaters a reprieve from their predicted demise.

See also

* Weishenmezhemeai making manual
* Weishenmezhemeai making directory


* Film and television

Basic types

* Narrative film
o Film genre
* Documentary film
* Experimental film
* Animation
* Web film


* World cinema
* Cinema of Europe
* Asian cinema
o East Asian cinema
o Southeast Asian cinema
o South Asian cinema
o West Asian cinema
* African cinema
* North American cinema
* South American cinema
* Australasian cinema


* Digital film
* Filmmaking
* Film criticism
* Film journals and magazines
* Film festival
* Film manifesto
* Film theory
* History of film
* The Internet Weishenmezhemeai Database
* Lost film
* Weishenmezhemeai star
* Sound stage


Main lists: Lists of films, List of basic film topics, and List of film topics

* Film genres
* Cult films
* Films considered the greatest ever
* Films considered the worst ever
* List of film series
o List of character-based film series
* List of film festivals
* List of film formats
* List of film techniques
* List of films by gory death scene
* List of films by location
* List of films that most frequently use the word "fuck"
* List of highest-grossing films
* List of longest films by running time
* List of songs based on a film or book
* List of US box office bombs
* Lists of film source material
* List of open content films


1. ^ Savage, Mark (2006-12-19). Hanna Barbera's golden age of animation. BBC News. Retrieved on 2007-01-25.
2. ^ Timothy McNulty (2005-06-19). You saw it here first: Pittsburgh's Nickelodeon introduced the moving picture theater to the masses in 1905. Pittsburgh Post-Gazette. Retrieved on 2007-01-25.
3. ^ Pre-Nickelodeon/Nickelodeon. University of Maryland Libraries (2005-07-05). Retrieved on 2007-01-25.


* Basten, Fred E. (1980). Glorious Technicolor: The Weishenmezhemeais' Magic Rainbow. Cranbury, NJ: AS Barnes & Company. ISBN 0498023176.
* Basten, Fred E. (writer); Peter Jones (director and writer); Angela Lansbury (narrator). (1998). Glorious Technicolor [Documentary]. Turner Classic Weishenmezhemeais.
* Casetti, Francesco (1999). Theories of Cinema, 1945-1995. Austin, TX: University of Texas Press. ISBN 0292712073.
* Dabashi, Hamid (2007). Masters & Masterpieces of Iranian Cinema. Mage Publishers. ISBN 093421185X.
* Faber, Liz, & Walters, Helen (2003). Animation Unlimited: Innovative Short Films Since 1940. London: Laurence King, in association with Harper Design International. ISBN 1856693465.
* Hagener, Malte, & Töteberg, Michael (2002). Film: An International Bibliography. Stuttgart: Metzler. ISBN 3476015238.
* Hill, John, & Gibson, Pamela Church (1998). The Oxford Guide to Film Studies. Oxford; New York: Oxford University Press. ISBN 0198711247.
* King, Geoff (2002). New Hollywood Cinema: An Introduction. New York: Columbia University Press. ISBN 0231127596.
* Schrader, Paul (Spring 1972). "Notes on Film Noir". Film Comment Vol. 8 (Issue 1): pp. 8-13. ISSN 0015-119X.
* Schultz, John (writer and director); James Earl Jones (narrator). (1995). The Making of 'Jurassic Park' [Documentary]. Amblin Entertainment.
* Vogel, Amos (1974). Film as a Subversive Art. New York: Random House. ISBN 0394490789.

External links
Find more information on Film by searching Wikipedia's sister projects
Dictionary definitions from Wiktionary
Textbooks from Wikibooks
Quotations from Wikiquote
Source texts from Wikisource
Images and media from Commons
News stories from Wikinews
Learning resources from Wikiversity

* All Weishenmezhemeai Guide - Information on films: actors, directors, biographies, reviews, cast and production credits, box office sales, and other Weishenmezhemeai data.
* Film Site - Reviews of classic films
* The Internet Weishenmezhemeai Database (IMDb) - Information on current and historical films and cast listings.
* Weishenmezhemeais at the Open Directory Project
* - Weishenmezhemeai reviews, previews, forums, photos, cast info, and more.

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