A film, also called a movie or motion picture, is a series of still or moving images. It is produced by recording photographic images with cameras, or by creating images using animation techniques or visual effects. The process of filmmaking has developed into an art form and industry.

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 films have become popular worldwide attractions by using dubbing or subtitles that translate the dialogue into the language of the viewer.

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 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.

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'', ''moving picture'', ''photo-play'' and ''flick''. A common name for film in the United States is ''movie'', while in Europe the term ''film'' is preferred. Additional terms for the field in general include ''the big screen'', ''the silver screen'', ''the cinema'' and ''the movies''.

History

Preceding film in origin by thousands of years, early 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 apply, such as mise en scene (roughly, the entire visual picture at any one time). Owing to an absence of technology for doing so, moving visual and aural images were not recorded for replaying as in film.

In the 1860s, mechanisms for producing two-dimensional drawings in motion were demonstrated with devices such as the zoetrope, mutoscope and 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. An 1878 experiment by English photographer Eadweard Muybridge in the United States using 24 cameras produced a series of stereoscopic images of a galloping horse, is arguably the first "motion picture", though it was not called by this name. This technology 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. Commercial versions of these machines were coin operated.

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. The first public exhibition of projected motion pictures in America was shown at Koster and Bial's Music Hall in New York City on the 23rd of April 1896.

Ignoring W. K. L. Dickson's early sound experiments (1894), commercial motion pictures were purely visual art through the late 19th century, but these innovative silent films had gained a hold on the public imagination. Around the turn of the 20th century, films began developing a narrative structure by stringing scenes together to tell narratives. The scenes were later broken up into multiple shots of varying sizes and angles. Other techniques such as camera movement were realized as effective ways to portray a story on film. Rather than leave the audience with noise of early cinema projectors, theater owners would hire a pianist or organist or a full orchestra to play music that would cover noises of projector. Eventually, musicians would start to fit 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 scores being composed for major productions.

The rise of European cinema was interrupted by the outbreak of World War I when the film industry in United States flourished with the rise of Hollywood, typified most prominently by the great innovative work of D. W. Griffith in The Birth of a Nation (1914) and Intolerance (1916). However in the 1920s, European filmmakers such as Sergei Eisenstein, F. W. Murnau, and Fritz Lang, in many ways inspired by the meteoric war-time progress of film through Griffith, along with the contributions of Charles Chaplin, Buster Keaton and others, quickly caught up with American film-making and continued to further 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 so-called "natural color", which meant color that was photographically recorded from nature rather than being added to black-and-white prints by hand-coloring, stencil-coloring or other arbitrary procedures, although the earliest processes typically yielded colors which were far from "natural" in appearance. While the addition of sound quickly eclipsed silent film and theater musicians, color replaced black-and-white much more gradually. The pivotal innovation was the introduction of the three-strip version of the Technicolor process, which was first used for short subjects and for isolated sequences in a few feature films released in 1934, then for an entire feature film, Becky Sharp, in 1935. The expense of the process was daunting, but continued favorable public response and enhanced box-office receipts increasingly justified the added cost. The number of films made in color slowly increased year after year.

In the early 1950s, as the proliferation of black-and-white television started seriously depressing theater attendance in the US, the use of color was seen as one way of winning back audiences. It soon became the rule rather than the exception. Some important mainstream Hollywood films were still being made in black-and-white as late as the mid-1960s, but they marked the end of an era. Color television receivers had been available in the US since the mid-1950s, but at first they were very expensive and few broadcasts were in color. During the 1960s, prices gradually came down, color broadcasts became common, and the sale of color television sets boomed. The strong preference of the general public for color was obvious. After the final flurry of black-and-white film releases in mid-decade, all major Hollywood studio film production was exclusively in color, with rare exceptions reluctantly made only at the insistence of "star" directors such as Peter Bogdanovich and Martin Scorsese.

Since the decline of the studio system in the 1960s, the succeeding decades saw changes in the production and style of film. Various New Wave movements (including the French New Wave, Indian New Wave, Japanese New Wave and New Hollywood) 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 2000s. 3D technology increased in usage and has become more popular since the early 2010s.

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 Jacques 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. On the other hand, critics from the analytical philosophy tradition, influenced by Wittgenstein, try to clarify misconceptions used in theoretical studies and produce analysis of a film's vocabulary and its link to a form of life.

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 actor who vaguely resembles the first actor, indicating the first actor is having a memory of their own past.

Montage

Parallels to musical counterpoint have been developed into a theory of montage, extended from the complex superimposition of images in early silent film 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, ''Rumble Fish''.

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 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 on films, especially those of certain genres. Mass marketed action, horror, and comedy films 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 dramas, 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

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 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 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. By 1917 Charlie Chaplin had a contract that called for an annual salary of one million dollars.

From 1931 to 1956, film was also the only image storage and playback system for television programming until the introduction of videotape recorders.

In the United States today, much of the film industry is centered around Hollywood. Other regional centers exist in many parts of the world, such as Mumbai-centered Bollywood, the Indian film industry's Hindi cinema which 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. 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 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

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

Although the words "film" and "movie" are sometimes used interchangeably, "film" is more often used when considering artistic, theoretical, or technical aspects, as studies in a university class and "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" is a digital format which may be used to reproduce an analog film, while "videotape" ("video") was for many decades a solely analog medium onto which moving images could be recorded and electronically (rather than optically) reproduced. Strictly speaking, "Film" refers to the media onto which a visual image is shot, and to this end it may seem improper for work in other "moving image" media to be referred to as a "film" and the action of shooting as "filming", though these terms are still in general use. "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 analog sound, not just a musical accompaniment. "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 ratios. 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. An "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.

Any film may also have a "sequel", which portrays events following those in the film. ''Bride of Frankenstein'' is an early example. When there are a number of films with the same characters, we have a "series", such as the James Bond series. A film which portrays events that occur earlier than those in another film, but is released after that film, is sometimes called a "prequel", an example being ''Butch and Sundance: The Early Days''.

''Credits'' is a list of the people involved in making the film. Before the 1970s, credits were usually at the beginning of a film. Since then, the credits roll at the end of most films.

A Post-credits scene is a scene shown after the end of the credits. ''Ferris Bueller's Day Off'' has a post-credit scene in which Ferris tells the audience that the movie is over and they should go home.

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

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 instance, 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

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

At its core, the means to produce a film depend on the content the filmmaker wishes to show, and the apparatus for displaying it: the zoetrope merely requires a series of images on a strip of paper. Film production can therefore take as little as one person with a camera (or without it, such as Stan Brakhage's 1963 film ''Mothlight''), or thousands of actors, extras and crewmembers for a live-action, feature-length epic.

The necessary steps for almost any film can be boiled down to conception, planning, execution, revision, and distribution. The more involved the production, the more significant each of the steps becomes. In a typical production cycle of a Hollywood-style film, these main stages are defined as:

# Development # Pre-production # Production # Post-production # Distribution

This production cycle usually 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''.

The bigger the production, the more resources it takes, and the more important financing becomes; most feature films are not only artistic works, but for-profit business entities.

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 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 (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 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 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). 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 preferred by some moviemakers, especially because footage shot with digital cinema can be evaluated and edited with non-linear editing systems (NLE) without waiting for the film stock to be processed. Yet the migration is gradual, and as of 2005 most major motion pictures are still shot on film.

Independent

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 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). 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 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 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, 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, and Microsoft's Windows Movie Maker 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

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 systems.

Fan film

A fan film is a film or video inspired by a film, television program, comic book or a similar source, created by fans rather than by the source's copyright holders or creators. Fan filmmakers have traditionally been amateurs, but some of the more notable films have actually been produced by professional filmmakers as film school class projects or as demonstration reels. Fan films vary tremendously in length, from short faux-teaser trailers for non-existent motion pictures to rarer full-length motion pictures.

Distribution

When it is initially produced, a feature film is often shown to audiences in a movie theater or cinema. The identity of the first theater designed specifically for cinema is a matter of debate; candidates include Tally's Electric Theatre, established 1902 in Los Angeles, and Pittsburgh's Nickelodeon, established 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). 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 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 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 a television movie 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 movie 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. 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).

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 labor intensive and tedious, though the development of computer animation has greatly sped up the process.

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 by Hanna-Barbera, and adapted by other studios as cartoons moved from movie theaters to television.

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.

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 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 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 21st century 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 high definition (HD) format, Blu-ray, which can provide full 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 330×480 offered by the first home video standard, VHS. Ultra HD, a future digital video format, will offer a resolution of 7680×4320. However, the nature and structure of film prevents an apples-to-apples comparison with regard to resolution. The resolving power of film, and its ability to capture an image which can later be scanned to a digital format, will ensure that film remains a viable medium for some time to come. Currently the super-16 format is seeing use as a capture medium, with digital scanning and post-production providing good results. Despite advances in digital capture, film still offers unsurpassed ability to capture fine detail beyond what is possible with digital image sensors. A 35 mm film frame, with proper exposure and processing, still offers an equivalent resolution in the range of 500 mega pixels.

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

; Lists

List of film awards

List of film festivals

List of film journals and magazines

List of film topics

List of video-related topics

List of years in film

Lists of films

; Related topics

Cinematic techniques

Digital cinema

Lost film

Web film

Notes

References

External links

Allmovie – Information on films: actors, directors, biographies, reviews, cast and production credits, box office sales, and other movie data.

Film Site – Reviews of classic films

Rottentomatoes.com – Movie reviews, previews, forums, photos, cast info, and more.

The Internet Movie Database (IMDb) – Information on current and historical films and cast listings.

Category:Art media Category:Media formats

af:Film als:Film am:ፊልም ar:فلم an:Cine as:চলচ্চিত্ৰ ast:Película az:Film bjn:Pélém zh-min-nan:Tiān-iáⁿ be:Фільм be-x-old:Фільм bg:Филм bo:གློག་བརྙན། bs:Film br:Sinema ca:Pel·lícula ceb:Sine cs:Film co:Sinemà cy:Ffilm da:Film de:Film et:Film el:Κινηματογράφος es:Película eo:Filmo ext:Cini eu:Film fa:فیلم hif:Sakis fo:Filmur fr:Cinéma fy:Filmkeunst fur:Cine (art) ga:Scannán gv:Fillym gd:Film gl:Cine gan:電影 hak:Thien-yáng ko:영화 hi:फ़िल्म hr:Film io:Cinemo id:Film ia:Cinema is:Kvikmynd it:Film he:סרט קולנוע jv:Film kn:ಸಿನಮಾ csb:Film kk:Кино sw:Filamu ht:Sinema ku:Fîlm ky:Кино lo:ຮູບເງົາ la:Pellicula lv:Kinofilma lb:Film lt:Filmas li:Film ln:Sindemá jbo:skina hu:Film mk:Филм mg:Sinema ml:ചലച്ചിത്രം mt:Ċinema mr:चलचित्र arz:فن السينيما ms:Filem mwl:Cinema mn:Кино nah:Īxiptlayōlli nl:Film (cinematografie) nds-nl:Film (cinematografie) cr:ᑳᒋᐦᑳᔥᑌᐦᑎᐦᒡ ne:चलचित्र ja:映画 nap:Pellicula frr:Film no:Film nn:Film nrm:Cinnéma oc:Cinèma uz:Film pnb:فلم pap:Pelikula ps:فلم pcd:Chinéma nds:Filmkunst pl:Film pt:Filme ro:Film qu:Kuyu walltay ru:Фильм sah:Киинэ sa:चलच्चित्रम् sc:Cìnema sco:Film sq:Filmi scn:Pillìcula simple:Movie sk:Film sl:Film sr:Филм sh:Film su:Filem fi:Elokuva sv:Film tl:Pelikula ta:திரைப்படம் te:సినిమా th:ภาพยนตร์ tg:Синамо tr:Film uk:Кінофільм ur:فلم vec:Cinema vi:Điện ảnh fiu-vro:Film wa:Fime war:Sine wuu:电影 ts:Film yi:פילם zh-yue:電影 bat-smg:Films zh:电影

Coordinates	35°0′41.69″N135°46′5.47″N
name	Elizabeth Taylor
birth name	Elizabeth Rosemond Taylor
birth date	February 27, 1932
birth place	, England
death date	March 23, 2011
death place
death cause	Congestive heart failure
restingplace	Forest Lawn Memorial Park, Glendale, California
other names	Liz Taylor
occupation	Actress, social activist
years active	1942–2003
nationality	British-American
religion	}}

| spouse = | children = | parents = | relations = Howard Taylor (older brother) | awards = List }} Dame Elizabeth Rosemond "Liz" Taylor, DBE (February 27, 1932 – March 23, 2011) was a British-American actress. From her early years as a child star with MGM, she became one of the great screen actresses of Hollywood's Golden Age. As one of the world's most famous film stars, Taylor was recognized for her acting ability and for her glamorous lifestyle, beauty and distinctive violet eyes.

''National Velvet'' (1944) was Taylor's first success, and she starred in ''Father of the Bride'' (1950), ''A Place in the Sun'' (1951), ''Giant'' (1956), ''Cat on a Hot Tin Roof'' (1958), and ''Suddenly, Last Summer'' (1959). She won the Academy Award for Best Actress for ''BUtterfield 8'' (1960), played the title role in ''Cleopatra'' (1963), and married her co-star Richard Burton. They appeared together in 11 films, including ''Who's Afraid of Virginia Woolf?'' (1966), for which Taylor won a second Academy Award. From the mid-1970s, she appeared less frequently in film, and made occasional appearances in television and theatre.

Her much publicized personal life included eight marriages and several life-threatening illnesses. From the mid-1980s, Taylor championed HIV and AIDS programs; she co-founded the American Foundation for AIDS Research in 1985, and the Elizabeth Taylor AIDS Foundation in 1993. She received the Presidential Citizens Medal, the Legion of Honour, the Jean Hersholt Humanitarian Award and a Life Achievement Award from the American Film Institute, who named her seventh on their list of the "Greatest American Screen Legends". Taylor died of congestive heart failure in March 2011 at the age of 79, having suffered many years of ill health.

Early life

Elizabeth Rosemond Taylor was born at Heathwood, her parents' home at 8 Wildwood Road in Hampstead Garden Suburb, a northwestern suburb of London; the younger of two children of Francis Lenn Taylor (1897–1968) and Sara Viola Warmbrodt (1895–1994), who were Americans residing in England. Taylor's older brother, Howard Taylor, was born in 1929. Her parents were originally from Arkansas City, Kansas. Francis Taylor was an art dealer, and Sara was a former actress whose stage name was "Sara Sothern". Sothern retired from the stage in 1926 when she married Francis in New York City. Taylor's two first names are in honor of her paternal grandmother, Elizabeth Mary (Rosemond) Taylor.

Colonel Victor Cazalet, one of their closest friends, had an important influence on the family. He was a rich, well-connected bachelor, a Member of Parliament and close friend of Winston Churchill. Cazalet loved both art and theater and was passionate when encouraging the Taylor family to think of England as their permanent home. Additionally, as a Christian Scientist and lay preacher, his links with the family were spiritual. He also became Elizabeth's godfather. In one instance, when she was suffering with a severe infection as a child, she was kept in her bed for weeks. She "begged" for his company: "Mother, please call Victor and ask him to come and sit with me."

Biographer Alexander Walker suggests that Elizabeth's conversion to Judaism at the age of 27 and her life-long support for Israel, may have been influenced by views she heard at home. Walker notes that Cazalet actively campaigned for a Jewish homeland, and her mother also worked in various charities, which included sponsoring fundraisers for Zionism. Her mother recalls the influence that Cazalet had on Elizabeth: }}

A dual citizen of the United Kingdom and the United States, she was born British, through her birth on British soil and an American citizen through her parents. She reportedly sought, in 1965, to renounce her United States citizenship, to wit: "Though never accepted by the State Department, Elizabeth renounced in 1965. Attempting to shield much of her European income from U.S. taxes, Elizabeth wished to become solely a British citizen. According to news reports at the time, officials denied her request when she failed to complete the renunciation oath, refusing to say that she renounced "all allegiance to the United States of America."

At the age of three, Taylor began taking ballet lessons. Shortly before the beginning of World War II, her parents decided to return to the United States to avoid hostilities. Her mother took the children first, arriving in New York in April 1939, while her father remained in London to wrap up matters in his art business, arriving in November. They settled in Los Angeles, California, where her father established a new art gallery, which included many paintings he shipped from England. The gallery would soon attract numerous Hollywood celebrities who appreciated its modern European paintings. According to Walker, the gallery "opened many doors for the Taylors, leading them directly into the society of money and prestige" within Hollywood's movie colony.

Acting career

Child actress

Soon after settling in Los Angeles, Taylor's mother discovered that Hollywood people "habitually saw a movie future for every pretty face." Some of her mother's friends, and even total strangers, urged her to have Taylor screen tested for the role of Bonnie Blue, Scarlett's child in ''Gone with the Wind'', then being filmed. Her mother refused the idea, as a child actress in film was alien to her. And in any regard, they would return to England after the war. thumb|left| As a child actress, circa 1942 Hollywood columnist Hedda Hopper introduced the Taylors to Andrea Berens, the fiancée of John Cheever Cowdin, chairman and major stockholder of Universal Pictures. Berens insisted that Sara take Taylor to see Cowden who, she assured, would be dazzled by her breathtaking beauty. Metro-Goldwyn-Mayer also became interested in Taylor, and MGM head Louis B. Mayer reportedly told his producer, "Sign her up, sign her up! What are you waiting for?" As a result, she soon had both Universal and MGM willing to place her under contract. When Universal learned that MGM was equally interested, however, Cowden telephoned Universal from New York: "Sign her up, he ordered, don't even wait for the screen test." Universal then gave her a seven-year contract.

Taylor appeared in her first motion picture at the age of nine in ''There's One Born Every Minute'' (1942), her only film for Universal. After less than a year, however, the studio fired Taylor for unknown reasons. Some speculate that she did not live up to Cowden's promise. Walker believes that Taylor's intuition told her "she wasn't really welcome at Universal." She learned, for instance, that her casting director complained, "The kid has nothing," after a test. Even her beautiful eyes—they were a deep blue that appeared violet and stunned those who met her in person, with a mutation that gave Taylor double eyelashes—did not impress him: "Her eyes are too old, she doesn't have the face of a child," he said. But Walker admits that "this was not so far off the mark as it may appear now." He explains: }}

Taylor herself remembers that when she was a child in England, adults used to describe her as having an "old soul," because, as she says, "I was totally direct." She also recognized similar traits in her baby daughter:

Taylor's father served as an air raid warden with MGM producer Sam Marx, and learned that the studio was searching for an English actress for a Lassie film. Taylor received the role and was offered a long-term contract at the beginning of 1943. She chose MGM because "the people there had been nicer to her when she went to audition," Taylor recalled. MGM's production chief, Benny Thau, was to remain the "only MGM executive" she fully trusted during subsequent years, because, writes Walker, "he had, out of kindly habit, made the gesture that showed her she was loved." Thau remembered her as a "little dark-haired beauty...[with] those strange and lovely eyes that gave the face its central focus, oddly powerful in someone so young." MGM, in addition, was considered a "glamorous studio," boasting that it had "more stars than there are in heaven." Before Taylor's mother would sign the contract, however, she sought certainty that Taylor had a "God-given talent" to become an actress. Walker describes how they came to a decision: }}

Adolescent star

MGM cast Taylor in ''Lassie Come Home'' (1943) with child star Roddy McDowall, with whom she would share a lifelong friendship. He later recalled regarding her beauty, "who has double eyelashes except a girl who was absolutely born to be on the big screen?" The film received favorable attention for both actors, and MGM signed Taylor to a conventional seven-year contract starting at $100 a week and with regular raises. Her first assignment under her new contract was a loan-out to 20th Century Fox for the character of Helen Burns in a film version of the Charlotte Brontë novel ''Jane Eyre'' (1944). Taylor returned to England to appear in another McDowall picture for MGM, ''The White Cliffs of Dover'' (1944).

Taylor's persistence in seeking the role of Velvet Brown in MGM's ''National Velvet'' made her a star at the age of 12. Her character is a young girl who trains her beloved horse to win the Grand National. ''Velvet'', which costarred fellow young actor Mickey Rooney and English newcomer Angela Lansbury, became a great success upon its release in December 1944. Many years later Taylor called it "the most exciting film" she had ever made, although the film caused many of her later back problems due to her falling off a horse during filming.

Viewers and critics "fell in love with Elizabeth Taylor when they saw her in it." Walker explains why the film was popular: }}

''Velvet'' grossed over US$4 million and MGM signed Taylor to a new long-term contract. Because of the movie's success she was cast in another animal film, ''Courage of Lassie'' (1946), in which Bill the dog outsmarts the Nazis. The film's success led to another contract for Taylor paying her $750 per week. Her roles as Mary Skinner in a loan-out to Warner Brothers' ''Life With Father'' (1947), Cynthia Bishop in ''Cynthia'' (1947), Carol Pringle in ''A Date with Judy'' (1948), and Susan Prackett in ''Julia Misbehaves'' (1948) were all successful. Taylor received a reputation as a consistently successful adolescent actress, with a nickname of "One-Shot Liz" (referring to her ability to shoot a scene in one take) and a promising career. Taylor's portrayal of Amy in the American classic ''Little Women'' (1949) was her last adolescent role.

Transition into adult roles

The teenage Taylor was reluctant to continue making films. Her stage mother forced Taylor to relentlessly practice until she could cry on cue and watched her during filming, signaling to change her delivery or a mistake. Taylor met few others her age on movie sets, and was so poorly educated that she needed to use her fingers to do basic arithmetic. When at age 16 Taylor told her parents that she wanted to quit acting for a normal childhood, however, Sara Taylor told her that she was ungrateful: "You have a responsibility, Elizabeth. Not just to this family, but to the country now, the whole world".

In October 1948, Taylor sailed aboard the to England to begin filming ''Conspirator''. Unlike some other child actors, Taylor made an easy transition to adult roles. Before ''Conspirator'' 1949 release, a ''TIME'' cover article called her "a jewel of great price, a true star sapphire", and the leader among Hollywood's next generation of stars such as Montgomery Clift, Kirk Douglas, and Ava Gardner. The petite Taylor had the figure of a mature woman, with a 19" waist. ''Conspirator'' failed at the box office, but 16-year-old Taylor's portrayal of a 21-year-old debutante who unknowingly marries a communist spy played by 38-year-old Robert Taylor, was praised by critics for her first adult lead in a film. Taylor's first picture under her new salary of $2,000 per week was ''The Big Hangover'' (1950), both a critical and box office failure, that paired her with screen idol Van Johnson. The picture also failed to present Taylor with an opportunity to exhibit her newly realized sensuality.

Her first box office success in an adult role came as Kay Banks in the romantic comedy ''Father of the Bride'' (1950), alongside Spencer Tracy and Joan Bennett. The film spawned a sequel, ''Father's Little Dividend'' (1951), which Taylor's costar Spencer Tracy summarized with "boring… boring… boring". The film did well at the box office, but it would be Taylor's next picture that would set the course for her career as a dramatic actress.

In late 1949, Taylor had begun filming George Stevens' ''A Place in the Sun''. Upon its release in 1951, Taylor was hailed for her performance as Angela Vickers, a spoiled socialite who comes between George Eastman (Clift) and his poor, pregnant factory-working girlfriend Alice Tripp (Shelley Winters). The film, based on Theodore Dreiser's novel, ''An American Tragedy,'' was an indictment of "the American dream" and its corrupting influences, notes biographer Kitty Kelley.

Although Taylor, then only 17, was unaware of the psychological implications of the story and its powerful nuances, it became the pivotal performance of Taylor's career. Kelley explains that Stevens, its director, knew that with Elizabeth Taylor as the young and beautiful star, the "audience would understand why George Eastman (Clift) would kill for a place in the sun with her." Hollywood columnist Hedda Hopper, allowed on the set to watch the filming, became "wide-eyed watching the little girl from ''National Velvet'' seduce Montgomery Clift in front of the camera," writes Kelley. When the scene was over, Hopper went to her, "Elizabeth, where on earth did you ever learn how to make love like that?"

Critics acclaimed the film as a classic, a reputation it sustained throughout the next 50 years of cinema history. ''The New York Times'' A.H. Weiler wrote, "Elizabeth's delineation of the rich and beauteous Angela is the top effort of her career", and the ''Boxoffice'' reviewer unequivocally stated "Miss Taylor deserves an Academy Award".

Taylor became increasingly unsatisfied with the roles being offered to her at the time. While she wanted to play the lead roles in ''The Barefoot Contessa'' and ''I'll Cry Tomorrow'', MGM continued to restrict her to mindless and somewhat forgettable films such as: a cameo as herself in ''Callaway Went Thataway'' (1951), ''Love Is Better Than Ever'' (1952), ''Ivanhoe'' (1952), ''The Girl Who Had Everything'' (1953) and ''Beau Brummel'' (1954). She had wanted to play the role of Lady Rowena in ''Ivanhoe'', but the part was given to Joan Fontaine; Taylor was given the role of Rebecca. When Taylor became pregnant with her first child, MGM forced her through ''The Girl Who Had Everything'' (even adding two hours to her daily work schedule) so as to get one more film out of her before she became too heavily pregnant. Taylor lamented that she needed the money, as she had just bought a new house with second husband Michael Wilding and with a child on the way things would be pretty tight. Taylor had been forced by her pregnancy to turn down ''Elephant Walk'' (1954), though the role had been designed for her. Vivien Leigh, almost two decades Taylor's senior, but to whom Taylor bore a striking resemblance, got the part and went to Ceylon to shoot on location. Leigh suffered a nervous breakdown during filming, and Taylor reclaimed the role after the birth of her child, Michael Wilding, Jr., in January 1953.

Taylor's next screen endeavor, ''Rhapsody'' (1954), another tedious romantic drama, proved equally frustrating. Taylor portrayed Louise Durant, a beautiful rich girl in love with a temperamental violinist (Vittorio Gassman) and an earnest young pianist (John Ericson). A film critic for the ''New York Herald Tribune'' wrote: "There is beauty in the picture all right, with Miss Taylor glowing into the camera from every angle… but the dramatic pretenses are weak, despite the lofty sentences and handsome manikin poses."

Taylor's fourth period picture, ''Beau Brummell'', made just after ''Elephant Walk'' and ''Rhapsody'', cast her as the elaborately costumed Lady Patricia, which many felt was only a screen prop—a ravishing beauty whose sole purpose was to lend romantic support to the film's title star, Stewart Granger. ''The Last Time I Saw Paris'' (1954) fared only slightly better than her previous pictures, with Taylor being reunited with ''The Big Hangover'' costar Van Johnson. The role of Helen Ellsworth Willis was based on that of Zelda Fitzgerald and, although pregnant with her second child, Taylor went ahead with the film, her fourth in 12 months. Although proving somewhat successful at the box office, she still yearned for more substantial roles.

1955–79

Following a more substantial role opposite Rock Hudson and James Dean in George Stevens' epic ''Giant'' (1956), Taylor was nominated for an Academy Award for Best Actress four years in a row for ''Raintree County'' (1957) opposite Montgomery Clift; ''Cat on a Hot Tin Roof'' (1958) opposite Paul Newman; ''Suddenly, Last Summer'' (1959) with Montgomery Clift, Katharine Hepburn and Mercedes McCambridge; and finally winning for ''BUtterfield 8'' (1960). The film co-starred then husband Eddie Fisher and ended her contract, which Taylor said had made her an "MGM chattel" for 18 years.

''Suddenly, Last Summer'''s success made Taylor among the top ten most successful actors at the box office, and she remained in the top ten almost every year for the next decade. In 1960, Taylor became the highest paid actress up to that time when she signed a $1 million dollar contract to play the title role in 20th Century Fox's lavish production of ''Cleopatra'', which was released in 1963. During the filming, she began a romance with her future husband Richard Burton, who played Mark Antony in the film. The romance received much attention from the tabloid press, as both were married to other spouses at the time. Taylor ultimately received $7 million for her role.

Her second Academy Award, also for Best Actress in a Leading Role, was for her performance as Martha in ''Who's Afraid of Virginia Woolf?'' (1966), playing opposite then husband Richard Burton. Taylor and Burton would appear together in six other films during the decade, among them ''The V.I.P.s'' (1963), ''The Sandpiper'' (1965), and ''The Taming of the Shrew'' (1967). By 1967 their films had earned $200 million at the box office. When Taylor and Burton considered not working for three months, the possibility caused alarm in Hollywood as "nearly half of the U.S. film industry's income" came from movies starring one or both of them. Their next films ''Doctor Faustus'' (1967), ''The Comedians'' (1967) and ''Boom!'' (1968), however, all failed at the box office.

Taylor appeared in John Huston's ''Reflections in a Golden Eye'' (1967) opposite Marlon Brando (replacing Clift, who died before production began) and ''Secret Ceremony'' (1968) opposite Mia Farrow. By the end of the decade her box-office drawing power had considerably diminished, as evidenced by the failure of ''The Only Game in Town'' (1970), with Warren Beatty.

Although limited by a "thin and inflexible voice", Taylor continued to star in numerous theatrical films throughout the 1970s, such as ''Zee and Co.'' (1972) with Michael Caine, ''Ash Wednesday'' (1973), ''The Blue Bird'' (1976) with Jane Fonda and Ava Gardner, and ''A Little Night Music'' (1977). With then-husband Richard Burton, she co-starred in the 1972 films ''Under Milk Wood'' and ''Hammersmith Is Out'', and the 1973 made-for-TV movie ''Divorce His, Divorce Hers''.

1980–2003

Taylor starred in the 1980 mystery film ''The Mirror Crack'd'', based on an Agatha Christie novel. In 1985, she played movie gossip columnist Louella Parsons in the TV film ''Malice in Wonderland'' opposite Jane Alexander, who played Hedda Hopper. Taylor appeared in the miniseries ''North and South''. Her last theatrical film was 1994's ''The Flintstones''.

In February 1996, she appeared on the TV program, ''The Nanny'' as herself, and the star of the show, Fran, identifies her to a friend by using all of her husbands' names, stating that she would be meeting "Elizabeth Taylor-Hilton-Wilding-Todd-Fisher-Burton-Burton-Warner-Fortensky." In 2001, she played an agent in the TV film ''These Old Broads''. She appeared on a number of television series, including the soap operas ''General Hospital'' and ''All My Children'', as well as the animated series ''The Simpsons''—once as herself, and once as the voice of Maggie Simpson, uttering one word, "Daddy".

Taylor also acted on the stage, making her Broadway and West End debuts in 1982 with a revival of Lillian Hellman's ''The Little Foxes''. She was then in a production of Noël Coward's ''Private Lives'' (1983), in which she starred with her former husband, Richard Burton. The student-run Burton Taylor Theatre in Oxford was named for the famous couple after Burton appeared as Doctor Faustus in the Oxford University Dramatic Society (OUDS) production of the Marlowe play. Taylor played the ghostly, wordless Helen of Troy, who is entreated by Faustus to "make [him] immortal with a kiss".

In the early 1980s, Taylor moved to Bel Air, Los Angeles, which was her residence until her death. She also owned homes in Palm Springs, London and Hawaii.

2003–11

In March 2003, Taylor declined to attend the 75th Annual Academy Awards, due to her opposition to the Iraq War. She publicly condemned then President George W. Bush for calling on Saddam Hussein to leave Iraq, and said she feared the conflict would lead to "World War III".

The February 2007 issue of ''Interview'' magazine was devoted entirely to Taylor. It celebrated her life, career and her upcoming 75th birthday.

On December 1, 2007, Taylor acted on-stage again, appearing opposite James Earl Jones in a benefit performance of the A. R. Gurney play ''Love Letters''. The event's goal was to raise $1 million for Taylor's AIDS foundation. Tickets for the show were priced at $2,500, and more than 500 people attended. The event happened to coincide with the 2007 Writers Guild of America strike and, rather than cross the picket line, Taylor requested a "one night dispensation." The Writers Guild agreed not to picket the Paramount Pictures lot that night to allow for the performance.

Personal life

Marriages, romances, and children

thumb|Taylor with daughter Liza and husband Mike Todd, 1957Taylor was married eight times to seven husbands. When asked why she married so often, she replied, "I don't know, honey. It sure beats the hell out of me," but also said that, "I was taught by my parents that if you fall in love, if you want to have a love affair, you get married. I guess I'm very old-fashioned." Taylor's husbands were: Conrad "Nicky" Hilton (May 6, 1950 – January 29, 1951): Taylor believed that she was in love with the young hotel heir, but also wanted to escape her mother. MGM staff designed Taylor's wedding dress and honeymoon outfits. Hilton's "gambling, drinking, and abusive behavior", however, horrified her and her parents, caused a miscarriage, and ended the marriage in divorce after nine months. Michael Wilding (February 21, 1952 – January 26, 1957): The "gentle" Wilding, 20 years older than Taylor, comforted her after leaving Hilton. After their divorce Taylor admitted that "I gave him rather a rough time, sort of henpecked him and probably wasn't mature enough for him." Michael Todd (February 2, 1957 – March 22, 1958): Todd's death ended Taylor's only marriage not to result in divorce. Although their relationship was tumultuous, she later called him one of the three loves of her life, along with Burton and jewelry. Eddie Fisher (May 12, 1959 – March 6, 1964): Fisher, Todd's best friend, consoled Taylor after Todd's death. They began an affair while Fisher was still married to Debbie Reynolds, causing a scandal; Taylor outraged columnist Hopper by telling her, "Well, Mike is dead and I'm alive...What do you expect me to do? ''Sleep alone''?" Reynolds eventually forgave Taylor; she voted for her when Taylor was nominated for an Oscar for ''BUtterfield 8'', and starred with her in ''These Old Broads''. Richard Burton (March 15, 1964 – June 26, 1974): The Vatican condemned Burton and Taylor's affair, which began when both were married to others, as "erotic vagrancy". The press closely followed their relationship before, during, and after their ten years of marriage, due to great public interest in "the most famous film star in the world and the man many believed to be the finest classical actor of his generation." Taylor wanted to focus on her marriage rather than her career, and gained weight in an unsuccessful attempt to not receive film roles. Richard Burton (October 10, 1975 – July 29, 1976): Sixteen months after divorcing—Burton said, "You can't keep clapping a couple of sticks [of dynamite] together without expecting them to blow up"—they remarried in a private ceremony in Kasane, Botswana, but soon separated and redivorced in 1976. Burton disagreed with others about her famed beauty, acknowledging her "wonderful eyes" but saying that calling her "the most beautiful woman in the world is absolute nonsense. She has...a double chin and an overdeveloped chest, and she's rather short in the leg." He stated, however, that when he first saw Taylor in 1952, "She was unquestionably gorgeous. I can think of no other word to describe a combination of plentitude, frugality, abundance, tightness. She was lavish. She was a dark unyielding largesse. She was, in short, too bloody much." John Warner (December 4, 1976 – November 7, 1982): As with Burton, Taylor sought to be known as the wife of her husband, a Republican United States Senator from Virginia. Unhappy with her life in Washington, however, Taylor became depressed and entered the Betty Ford Clinic. Larry Fortensky (October 6, 1991 – October 31, 1996): Taylor and Fortensky met during another stay at the Betty Ford Clinic and were married at the Neverland Ranch.

Taylor had many romances outside her marriages. Before marrying Hilton she was engaged to both Heisman Trophy winner Glenn Davis—who did not know until the relationship ended that Taylor's mother had encouraged it to build publicity for her daughter—and the son of William D. Pawley, the United States Ambassador to Brazil. Howard Hughes promised Taylor's parents that if they would encourage her to marry him, the enormously wealthy industrialist and film producer would finance a movie studio for her; Sara Taylor agreed, but Taylor refused. After she left Hilton, Hughes returned, proposing to Taylor by suddenly landing a helicopter nearby and sprinkling diamonds on her. Other dates included Frank Sinatra, Henry Kissinger, and Malcolm Forbes. In 2007, Taylor denied rumors of a ninth marriage to her partner Jason Winters, but referred to him as "one of the most wonderful men I've ever known."

Taylor had two sons, Michael Howard (born January 6, 1953) and Christopher Edward (born February 27, 1955), with Michael Wilding. She had a daughter, Elizabeth Frances "Liza" (born August 6, 1957), with Michael Todd. During her marriage to Eddie Fisher, Taylor started proceedings to adopt a two-year-old girl from Germany, Maria (born August 1, 1961); the adoption process was finalized in 1964 following their divorce. Richard Burton later adopted Taylor's daughters Liza and Maria.

In 1971, Taylor became a grandmother at the age of 39. At the time of her death, she was survived by her four children, ten grandchildren, and four great-grandchildren.

Religion and identity

In 1959, at age 27, after nine months of study, Taylor converted from Christian Science to Judaism, taking the Hebrew name Elisheba Rachel. She stated that her conversion was something she had long considered and was not related to her marriages. After Mike Todd's death, Taylor said that she "felt a desperate need for a formalized religion," and explained that neither Catholicism nor Christian Science were able to address many of the "questions she had about life and death."

Biographer Randy Taraborrelli notes that after studying the philosophy of Judaism for nine months, "she felt an immediate connection to the faith." Although Taylor rarely attended synagogue, she stated, "I'm one of those people who think you can be close to God anywhere, not just in a place designed for worship . . . " At the conversion ceremony, with her parents present as witnesses and in full support of her decision, Taylor repeated the words of Ruth:

. . . for whither thou goest, I will go; and where thou lodgest, I will lodge; thy people shall be my people and thy God my God.

Taylor was a follower of Kabbalah and a member of the Kabbalah Centre.

During an interview when she was 55, she describes how her inner sense of identity, when a child actress, kept her from giving in to many of the studio's demands, especially with regard to altering her appearance to fit in:

She adds that she began to recognize her "inner being" during her adulthood:

Jewelry, perfume and fashion

Taylor had a passion for jewelry, stating that "You can't cry on a diamond's shoulder, and diamonds won't keep you warm at night, but they're sure fun when the sun shines". At her death, Taylor's jewelry collection was reportedly worth $150 million. She was a client of jewelry designer Shlomo Moussaieff. Over the years she owned a number of well-known pieces, two of the most famous being the Krupp Diamond, which Taylor wore daily, and the pear-shaped Taylor-Burton Diamond; both were among many gifts from husband Richard Burton. Taylor also owned the La Peregrina Pearl, purchased by Burton as a Valentine's Day present in 1969. The pearl was formerly owned by Mary I of England, and Burton sought a portrait of Queen Mary wearing the pearl. Upon the purchase of such a painting, the Burtons discovered that the British National Portrait Gallery did not have an original painting of Mary, so they donated the painting to the Gallery. Her enduring collection of jewelry has been documented in her book ''My Love Affair with Jewelry'' (2002) with photographs by the New York photographer John Bigelow Taylor.

At her death Taylor left an estate estimated at $600 million to $1 billion; beyond the $150 million in jewelry, she owned $130 million in real estate. Taylor was a pioneer in marketing a celebrity merchandise brand, and despite her years as an actress, most of Taylor's wealth came from her business ventures. She designed fine jewelry for The Elizabeth Collection, and launched three perfumes, "White Diamonds", "Passion", and "Passion for Men", which together had an estimated US$69 million in 2010 sales.

Taylor was a fashion icon during her years as an active film star. In addition to her own purchases, MGM costumers Edith Head and Helen Rose helped Taylor choose clothes that emphasized her face, chest, and waist. Taylor helped popularize Valentino and Halston's designs, and in the 1980s Schering-Plough developed violet contact lenses, citing Taylor's eyes as inspiration.

Activism

HIV/AIDS

Taylor devoted consistent and generous humanitarian time, advocacy efforts, and funding to HIV and AIDS-related projects and charities, helping to raise more than $270 million for the cause. She was one of the first celebrities and public personalities to do so at a time when few acknowledged the disease, organizing and hosting the first AIDS fundraiser in 1984, to benefit AIDS Project Los Angeles.

Taylor was cofounder of the American Foundation for AIDS Research (amfAR) with Dr. Michael Gottlieb and Dr. Mathilde Krim in 1985. Her longtime friend and former co-star Rock Hudson had disclosed having AIDS and died of it that year. She also founded the Elizabeth Taylor AIDS Foundation (ETAF) in 1993, created to provide critically needed support services for people with HIV/AIDS. For example, in 2006 Taylor commissioned a "Care Van" equipped with examination tables and xray equipment, the New Orleans donation made by her Elizabeth Taylor AIDS Foundation and Macy's. That year, in the wake of Hurricane Katrina, she also donated US$40,000 to the NO/AIDS Task Force, a non-profit organization serving the community of those affected by HIV/AIDS in and around New Orleans.

Taylor was honored with a special Academy Award, the Jean Hersholt Humanitarian Award, in 1992 for her HIV/AIDS humanitarian work. Speaking of that work, former President Bill Clinton said at her death, "Elizabeth's legacy will live on in many people around the world whose lives will be longer and better because of her work and the ongoing efforts of those she inspired."

Jewish causes

After her conversion to Judaism, Taylor worked for Jewish causes throughout her life. In 1959, her large-scale purchase of Israeli Bonds caused Arab boycotts of her films. In 1962, she was barred from entering Egypt to complete ''Cleopatra''; its government announced that "that Miss Taylor will not be allowed to come to Egypt because she has adopted the Jewish faith and 'supports Israeli causes.'" In 1974, Taylor and Richard Burton considered marrying in Israel, but could not because Burton was not Jewish. Taylor helped to raise money for organizations such as the Jewish National Fund; advocated for the right of Soviet Jews to emigate to Israel and canceled a visit to the USSR because of its condemnation of Israel due to the Six-Day War; signed a letter protesting the United Nations General Assembly Resolution 3379 of 1975; and offered herself as a replacement hostage during the 1976 Entebbe skyjacking.

Illnesses and death

Taylor struggled with health problems much of her life; starting with her divorce from Hilton, Taylor experienced serious medical issues whenever she faced problems in her personal life. Taylor was hospitalized more than 70 times and had at least 20 major operations. Many times newspaper headlines erroneously announced that Taylor was close to death; she herself only claimed to have almost died on four occasions.

At 5'4", Taylor constantly gained and lost significant amounts of weight, reaching both 119 pounds and 180 pounds in the 1980s. She smoked cigarettes into her mid-fifties, and feared she had lung cancer in October 1975 after an X-ray showed spots on her lungs, but was later found not to have the disease. Taylor broke her back five times, had both her hips replaced, had a hysterectomy, suffered from dysentery and phlebitis, punctured her esophagus, survived a benign brain tumor operation in 1997 and skin cancer, and faced life-threatening bouts with pneumonia twice, one in 1961 requiring an emergency tracheotomy. In 1983 she admitted to having been addicted to sleeping pills and painkillers for 35 years. Taylor was treated for alcoholism and prescription drug addiction at the Betty Ford Clinic for seven weeks from December 1983 to January 1984, and again from the autumn of 1988 until early 1989.

On May 30, 2006, Taylor appeared on ''Larry King Live'' to refute the claims that she had been ill, and denied the allegations that she was suffering from Alzheimer's disease and was close to death. Near the end of her life, however, she was reclusive and sometimes failed to make scheduled appearances due to illness or other personal reasons. She used a wheelchair and when asked about it stated that she had osteoporosis and was born with scoliosis.

The mutation that gave Taylor her striking double eyelashes may also have contributed to her history of heart trouble. In November 2004, Taylor announced a diagnosis of congestive heart failure, a progressive condition in which the heart is too weak to pump sufficient blood throughout the body, particularly to the lower extremities such as the ankles and feet. In 2009 she underwent cardiac surgery to replace a leaky valve. In February 2011, new symptoms related to heart failure caused her to be admitted into Cedars-Sinai Medical Center in Los Angeles for treatment, where she remained until her death at age 79 on March 23, 2011, surrounded by her four children.

She was buried in a private Jewish ceremony, presided over by Rabbi Jerry Cutler, the day after she died, at Forest Lawn Memorial Park in Glendale, California. Taylor is entombed in the Great Mausoleum, where public access to her tomb is restricted. At her request, the funeral began 15 minutes after it was scheduled to begin; as her representative told the media "She even wanted to be late for her own funeral."

Legacy

Taylor has been called the "greatest movie star of all," writes biographer William J. Mann. A child star at the age of 12, she soon after launched into public awareness by MGM and a string of successful films, many of which are today considered "classics." Her resulting celebrity made her into a Hollywood icon, as she set the "gold standard" for Hollywood fame, and "created the model for stardom," adds Mann.

Other observers, such as social critic Camille Paglia, similarly describe Taylor as "the greatest actress in film history," partly as a result of the "liquid realm of emotion" she expressed on screen. Paglia describes the effect Taylor had in some of her films:

}}

Taylor had a major role in sparking the sexual revolution of the 1960s, as she pushed the envelope on sexuality: She was one of the first major stars to pose (mostly) nude in ''Playboy,'' and among the first to remove her clothes onscreen. In ''A Place in the Sun'', filmed when she was 17, her surprising maturity shocked Hollywood columnist Hedda Hopper, who wrote of her precocious sexuality. Film historian Andrew Sarris describes her love scenes in the film with Montgomery Clift as "unnerving—sybaritic—like gorging on chocolate sundaes."

In real life, she was considered "a star without airs," notes Mann. Writer Gloria Steinem likewise described her as a "movie queen with no ego . . . expert at what she does, uncatty in her work relationships with other actresses." Mike Nichols, who directed her in ''Who's Afraid of Virginia Woolf?'' (1966), said that of all the actors he’s worked with, Taylor had the "most democratic soul." Mann adds that she treated electricians and studio crew the "same way she would a Rothschild at a charity gala." Director George Cukor told Taylor that she possessed "that rarest of virtues—simple kindness."

Awards and honors

Taylor won two Academy Awards for Best Actress, for her performance in ''BUtterfield 8'' in 1960, and for ''Who's Afraid of Virginia Woolf?'' in 1966. Additionally, she received the Jean Herscholt Humanitarian Academy Award in 1992 for her work fighting AIDS.

In 1997, Taylor was honored by the Screen Actors Guild (SAG) with the Life Achievement Award. As Taylor could not be in attendance, Gregory Peck read the following statement on her behalf:

Taylor received the French Legion of Honour in 1987, and in 2000 was named a Dame Commander of the Order of the British Empire. In 2001, she received a Presidential Citizens Medal for her humanitarian work, most notably for helping to raise more than $200 million for AIDS research and bringing international attention and resources to addressing the epidemic. Taylor was inducted into the California Hall of Fame in 2007.

Books

Taylor was the subject of at least 53 books as of 2006; Kitty Kelley wrote the first unauthorized biography of the actress in 1981, which Taylor denounced. She never wrote a comprehensive autobiography due to her desire for privacy, but did publish several books besides ''My Love Affair with Jewelry''. Taylor's first, ''Nibbles and Me'' (1946), discussed the child star's "adventures with her pet chipmunk". Reviewers criticized another, ''Elizabeth Taylor'' (1964), for being uninteresting and lacking in new information. She received a $750,000 advance payment for ''Elizabeth Takes Off: On Weight Gain, Weight Loss, Self-Image and Self-Esteem'' (1988).

Filmography

Notes

References

Further reading

External links

Elizabeth Taylor AIDS Foundation (ETAF)

"60 Minutes" interview (1970) video, 10 minutes

"Carroll Baker on Elizabeth Taylor", video, 2 minutes

Elizabeth Taylor: Unpublished Pics – slideshow by ''Life magazine''

Elizabeth Taylor Resource Extensive biography, separate entries for each film, TV, stage, news archive, photographs, etc.

Elizabeth Taylor photo tribute at Flickr

FBI file on Elizabeth Taylor

American Foundation for AIDS Research (amfAR)

Kennedy Center bio. for Elizabeth Taylor

Literature on Elizabeth Taylor

Interactive Timeline

Category:1932 births Category:2011 deaths Category:20th-century actors Category:21st-century actors Category:Academy Honorary Award recipients Category:Activists from California Category:Actors from California Category:Actors from London Category:Actresses awarded British damehoods Category:AIDS activists Category:American child actors Category:American film actors Category:American Jews Category:American stage actors Category:American television actors Category:BAFTA winners (people) Category:Best Actress Academy Award winners Category:Best Drama Actress Golden Globe (film) winners Category:Burials at Forest Lawn Memorial Park (Glendale) Category:California Republicans Category:Cardiovascular disease deaths in California Category:Converts to Judaism Category:Dames Commander of the Order of the British Empire Category:Deaths from congestive heart failure Category:English child actors Category:English emigrants to the United States Category:English film actors Category:English Jews Category:English stage actors Category:English television actors Category:Former Christian Scientists Category:GLAAD Media Awards winners Category:Jewish actors Category:Jewish activists Category:Kennedy Center honorees Category:Naturalized citizens of the United States Category:People from the Greater Los Angeles Area Category:People self-identifying as alcoholics Category:Presidential Citizens Medal recipients Category:Skin cancer survivors Category:Spouses of United States Senators Category:Spouses of Virginia politicians Category:University High School (Los Angeles, California) alumni Category:Virginia Republicans

af:Elizabeth Taylor als:Elizabeth Taylor ar:إليزابيث تايلور an:Elizabeth Taylor ast:Elizabeth Taylor az:Elizabet Teylor bn:এলিজাবেথ টেইলর zh-min-nan:Elizabeth Taylor be:Элізабет Тэйлар be-x-old:Элізабэт Тэйлар bjn:Elizabeth Taylor bcl:Elizabeth Taylor bs:Elizabeth Taylor bg:Елизабет Тейлър ca:Elizabeth Taylor ceb:Elizabeth Taylor cs:Elizabeth Taylorová cy:Elizabeth Taylor da:Elizabeth Taylor de:Elizabeth Taylor et:Elizabeth Taylor el:Ελίζαμπεθ Τέιλορ es:Elizabeth Taylor eo:Elizabeth Taylor eu:Elizabeth Taylor fa:الیزابت تیلور fo:Elizabeth Taylor fr:Elizabeth Taylor ga:Elizabeth Taylor gl:Elizabeth Taylor ko:엘리자베스 테일러 hy:Էլիզաբեթ Թեյլոր hr:Elizabeth Taylor io:Elizabeth Taylor id:Elizabeth Taylor is:Elizabeth Taylor it:Elizabeth Taylor he:אליזבת טיילור jv:Elizabeth Taylor kn:ಎಲಿಜ಼ಬೆತ್ ಟೇಲರ್ ka:ელიზაბეთ ტეილორი ku:Elizabeth Taylor la:Elisabetha Rosamunda Taylor lv:Elizabete Teilore lb:Elizabeth Taylor lt:Elizabeth Taylor ln:Elizabeth Taylor hu:Elizabeth Taylor mk:Елизабет Тејлор ml:എലിസബത്ത് ടൈലർ mr:एलिझाबेथ टेलर mzn:الیزابت تیلور ms:Elizabeth Taylor my:အဲလိဇဘက်တေလာ mrj:Тейлор, Элизабет nl:Elizabeth Taylor ne:एलिजाबेथ टेलर ja:エリザベス・テイラー no:Elizabeth Taylor nn:Elizabeth Taylor oc:Elizabeth Taylor pl:Elizabeth Taylor pt:Elizabeth Taylor ro:Elizabeth Taylor qu:Elizabeth Taylor ru:Тейлор, Элизабет sq:Elizabet Tejlor simple:Elizabeth Taylor sl:Elizabeth Taylor sr:Елизабет Тејлор sh:Elizabeth Taylor fi:Elizabeth Taylor sv:Elizabeth Taylor tl:Elizabeth Taylor ta:எலிசபெத் டெய்லர் te:ఎలిజబెత్ టేలర్ th:เอลิซาเบธ เทย์เลอร์ tg:Елизабет Тайлор tr:Elizabeth Taylor uk:Елізабет Тейлор vi:Elizabeth Taylor war:Elizabeth Taylor yi:עליזעבעט טעילער yo:Elizabeth Taylor zh-yue:伊利沙伯泰萊 zh:伊丽莎白·泰勒

Coordinates	35°0′41.69″N135°46′5.47″N
name	Brian Setzer
landscape	Yes
background	solo_singer
born	April 10, 1959Massapequa, New York, U.S.
instrument	Guitar, vocal
genre	Rockabilly, rock and roll, swing revival, jump blues, big band
occupation	Guitarist, musician, songwriter
years active	1979–present
associated acts	The Brian Setzer Orchestra, The Bloodless Pharoahs, Stray Cats, The Tomcats
website	www.briansetzer.com
notable instruments	Gretsch Brian Setzer Signature Models }}

Brian Setzer (born April 10, 1959) is an American guitarist, singer and songwriter. He first found widespread success in the early 1980s with the 1950s-style rockabilly revival group The Stray Cats, and revitalized his career in the late 1990s with a jazz-oriented big band.

Biography

Career

Setzer was born in Massapequa, New York. Beginning in January 1979, he fronted the popular rockabilly band, the Stray Cats.

After performing locally from New York to Philadelphia under various band names with no real success, singer and lead guitarist Setzer, drummer Slim Jim Phantom (born James McDonnell) and bassist Lee Rocker (born Leon Drucker) decided in June 1980 to go to London, England where they believed people would better appreciate their sound and style.

To get the money for their plane tickets, Brian, Lee and Jim went to Sam Ash Music on 48th Street to sell their instruments and gear to the store, and rather than negotiating simply sold all of their equipment for just enough money for three one-way plane tickets. Upon their arrival, they decided to call themselves the "Stray Cats", a name suggested by Rocker because of their status as 'strays'. After performing for only a few months they drew the attention of British producer Dave Edmunds and released a series of successful singles in the UK, which countered the already-entrenched punk scene in London with the more simple stripped down rockabilly sound, which immediately caught on with the youth.

After releasing several singles and two albums in England, the Stray Cats finally caught America's attention with the 1982 album ''Built for Speed'', which included the two Top Ten hits, "Rock This Town" (#9) and "Stray Cat Strut" (#3). This album was basically a re-release of many of the songs from the two previous albums: the self-titled "Stray Cats" and "Gonna Ball" (they have never been released in America). Their follow-up 1983 album ''Rant 'N Rave with the Stray Cats'' included the two successful singles: "(She's) Sexy + 17" (#5), and "I Won't Stand In Your Way" (#35).

After only four years, the Stray Cats separated in 1984, but reunited briefly to record albums and mount tours several times all the way through the early 1990s. From 1985 to early 1986, Setzer was the lead guitarist for the touring version of Robert Plant's ensemble band, The Honeydrippers.

In the summer of 1986, Setzer released his first solo album, ''The Knife Feels Like Justice'', which marked a huge move away from his trademark sound and towards a more mainstream 'rock-roots' sound, which was popularized at the time by such other artists such as John Cougar Mellencamp and Bruce Springsteen. The album was given very little promotion by his label and as a result it only found minor success, peaking at only number 45 on the ''Billboard'' US album charts. The album has become a cult favorite among those who understood the message Setzer was trying to attempt, such as the world's nuclear proliferation, the immigration issue, the understanding of religion and the 'working man's blues', such as unemployment, loneliness, etc.

In 1987, Setzer played the part of Eddie Cochran in the biographical film on the life of Ritchie Valens, La Bamba.

In the mid-1990s Setzer once again resurrected an older form of youth-oriented music, swing and jump blues music, when he formed The Brian Setzer Orchestra, an ambitious 17-piece ensemble project, which released four studio albums, a Christmas disc and several live releases between 1994 and 2002. His group's biggest success (and Setzer's outside the Stray Cats) came in 1998 with the release of the album ''The Dirty Boogie'' which cracked the top ten on the US album charts and featured a hit single, a cover of Louis Prima's "Jump, Jive and Wail".

Setzer continued to release solo-billed albums sporadically, including a solo live disc ''Rockin' By Myself'' in 1998. In 2001 he released an album titled ''Ignition'' with his new trio billed as the '68 Comeback Special. In 2003 he released ''Nitro Burnin' Funny Daddy''. A tribute album titled ''Rockabilly Riot Vol. 1: A Tribute To Sun Records'' was released on July 26, 2005, in the United States. An album simply titled ''13'' was released in October 2006.

On September 25, 2007, the Brian Setzer Orchestra released ''Wolfgang's Big Night Out'' which features Setzer's take on classical pieces, such as Beethoven's Symphony No. 5 and Für Elise. "Wolfgang" earned Setzer his 8th Grammy nomination, this time for Best Classical Crossover album of the year.

On October 13, 2009, the Brian Setzer Orchestra released a new album titled "Songs From Lonely Avenue." For the first time in Setzer's career, he was the sole writer on every song. Frank Comstock, the 87-year-old big band arranger whom Setzer collaborated with on "Wolfgang's Big Night Out," orchestrated most of the horn parts for the album.

On December 14, 2009, Brian Setzer was unable to complete a performance in Albuquerque, New Mexico, and was briefly hospitalized because of "dehydration, high altitude sickness and vertigo," After Colorado Springs, Albuquerque has the 2nd highest elevation of any American city of more than 100,000 people and many visitors experience oxygen debt and require ER treatment.

Recent Activity

In 2011 Brian Setzer toured extensively throughout Europe. The premiere night of ''The Brian Setzer Rockabilly Riot! Europe Tour 2011'' was at the 10 year celebration of the Azkena Rock Festival on the June 25, Vitoria Gasteiz, Spain to crowds of over 50,000 people.

The Tour then went onto dates in Zurich, Switzerland, Luxembourg City, Luxembourg, Weert and Amsterdam in the Netherlands, continuing into Germany in the cities Berlin, Hamburg and Cologne then onto Peer in Belguim. The Scandinavia leg of the tour was in Copenhagen, Denmark, Stockholm, Sweden and Helsinki, Finland ending at the famous Helsinki Ice Hall.

Further gigs where held at the famous Brixton Academy, London and in Ireland, Dublin, the tour is planned to continue into Japan in September, 2011.''The Brian Setzer Rockabilly Riot Tour!'' featured a special set with Slim Jim Phantom, and was supported on the majority shows by the cult Swedish punk rock band The Knockouts in Germany, Denmark, Sweden and Finland.

Honors

Setzer was awarded the Orville H. Gibson Lifetime Achievement Award at the 1999 Gibson Awards. As of 1999, the previous recipients of this award were B. B. King, Emmylou Harris, Vince Gill and John Fogerty.

Since 2000, Setzer has earned 3 Grammy Awards: Best Pop Performance Duo/Group for "Jump Jive An' Wail", and two Best Pop Instrumental Performance awards for "Sleepwalk" and "Caravan". In December 2006 he received his 7th Grammy nomination for his version of "My Favorite Things", again in the Best Pop Instrumental Performance category.

Personal life

Setzer has been married three times: DeAnna Morgan from 1984 to 1992, with whom he has a son, Cody; Christine Schmidt, from 1994 to 2002, with whom he has two daughters; and Julie Reiten, a former singer with the Dustbunnies, in 2005 (they met when she auditioned - and was hired - as a back-up singer for the Brian Setzer Orchestra in 2000). Setzer and Reiten reside in Minneapolis.

Discography

Bloodless Pharaohs

''Marty Thau Presents 2 × 5'' (1980)

''Brian Setzer and the Bloodless Pharaohs'' (1996, Collectables 687)

Brian Setzer & The Tomcats

A series of live recordings were issued in 1997 by Collectables Records, and removed from sale within a year under threat of legal action.

''Rock This Town'' (Recorded Live on March 29, 1980) (Collectables 701)

''High School Confidential'' (Recorded Live on May 24, 1980) (Collectables 702)

''Stray Cat Strut'' (Recorded Live on May 24, 1980) (Collectables 703)

''Rip It Up!'' (Recorded Live on May 30, 1980) (Collectables 704)

''All Shook Up'' (Recorded Live on May 30, 1980) (Collectables 705)

''Shake Rattle & Roll'' (Recorded Live on May 31, 1980) (Collectables 706)

''Rockabilly Boogie'' (Recorded Live on October 10, 1980) (Collectables 707)

Stray Cats

''Stray Cats'' (1981)

''Gonna Ball'' (1981)

''Built For Speed'' (1982) #2 (15 weeks) US

''Rant N' Rave with the Stray Cats'' (1983) #14 US

''Rock Therapy'' (1986) #122 US

''Blast Off!'' (1989) #111 US

''Let's Go Faster!'' (1990)

''The Best of the Stray Cats: Rock This Town'' (1990)

''Choo Choo Hot Fish'' (1992)

''Original Cool'' (1993)

''Rumble in Brixton'' (2004)

The Brian Setzer Orchestra

''The Brian Setzer Orchestra'' (1994) #158 US

''Guitar Slinger'' (1996)

''The Dirty Boogie'' (1998) #9 US

''Vavoom!'' (2000) #62 US

''Jumpin' East of Java'' (2001)

''Best of The Big Band'' (2002)

''Boogie Woogie Christmas'' (2002)

''The Ultimate Collection'' (2004)

''Dig That Crazy Christmas'' (2005)

''Wolfgang's Big Night Out'' (September 2007)

''The Best Of Collection - Christmas Rocks!'' (October 2008)

''Ultimate Christmas Collection'' (October 2008)

''Songs from Lonely Avenue'' (October 2009)

''Don't Mess With A Big Band (Live!)'' (July 2010)

''Christmas Comes Alive'' (October 2010)

Solo material

''The Knife Feels Like Justice'' (1986) #45 US

''Live Nude Guitars'' (1988) #140 US

''Rockin' By Myself'' (1998)

''Nitro Burnin' Funny Daddy'' (2003)

''Rockabilly Riot Vol. 1: A Tribute To Sun Records'' (2005)

''13'' (2006) #2 JAP

''Red Hot & Live'' (2007)

''Setzer Goes Instru-MENTAL!'' (2011)

'68 Comeback special

''Ignition'' (2001) #152 US

Filmography

''La Bamba'' (1987)

''Mother Goose Rock 'n' Rhyme'' (1990)

''The Great White Hype'' (1996)

''The Nanny'' - "The Bobbi Flekman Story'" (1997), as himself

''The Country Bears'' (2002), along with the '68 Comeback Special

''The Simpsons'' - "How I Spent My Strummer Vacation" (2002)

Live DVDs

''Brian Setzer Orchestra live In Japan'' (2001)

''Rumble In Brixton'' (2004)

''Brian Setzer Orchestra Live: Christmas Extravaganza'' (2005)

''One Rockin' Night ('95)'' (2007)

''Live In Montreal Jazz Festival ( 2010)

Other works and appearances

Composed and performed the theme song for the Disney cartoon show ''House Of Mouse''.

Appeared in a Bud Light commercial where his rehearsal session was interrupted by an elderly woman (recording pioneer Cordell Jackson) who could play rock-and-roll guitar.

Setzer also performed on Tomoyasu Hotei's album ''Soul Sessions'', on the tracks ''Back Streets of Tokyo'' and ''Take a Chance on Love''.

Appeared with the Brian Setzer Orchestra on an episode of The Nanny ''The Bobbi Flekman Story'' (1997)

Setzer spoofed himself in a 2002 episode of popular animated series The Simpsons. He voiced himself as a "tutor" at a fictional Rock 'n Roll Fantasy Camp attended by Homer Simpson, and said (after his animated version participated in chasing Homer in a motorized devil's head): "I hope you won't judge the entire Brian Setzer Orchestra based on my actions."

Musical equipment

Brian Setzer has a very large guitar collection spanning many decades and brands. Setzer favours vintage equipment and hollow body guitars and is currently endorsed by Gretsch. Vintage guitars:

D'Angelico Excel - 1938

D'Angelico New Yorker - 1940

Martin Model D-28 Acoustic - 1956

Fender Stratocaster Turquoise - 1957

Guild Bluesbird - 1959

Gretsch Model 6130 Round Up - 1955

Gretsch Model 6128 Black Duo Jet - 1957

Gretsch Model 6136 White Falcon - 1957

Gretsch Model 6129 Silver Jet - No Pickguard - 1957

Gretsch Model 6129 Silver Jet - White Pickguard - 1957

Gretsch Model 6136 White Falcon - 1957

Gretsch Model 6129 Silver Jet - Black Pickguard - 1958

Gretsch Model 6120 "Stray Cat" - 1959

Gretsch Model 6120 Chet Atkins - 1959

Gretsch Model 6119 "Christmas Custom" - 1959

Gretsch Model 6119 Blue Sparkle Jet - 1959

Gretsch Model 6120 - 1960

Gretsch Model 6119 - 1960

Gibson Firebird V - 1964

Signature guitars:

Gretsch Model 6120 Setzer Signature Prototype

Gretsch Model 6120 Setzer Hot Rod Custom Purple

Gretsch Model 6120 Setzer Hot Rod Custom "Pinstripe"

Gretsch Model 6120 Setzer Hot Rod Custom "Spotty"

Gretsch Model 6120 Setzer Hot Rod Custom "Sparkle Red"

Gretsch Model 6120 Setzer Hot Rod Custom "Sparkle Blue"

Gretsch Model 6120 SSLVO Brian Setzer Signature

Gretsch Model 6120 SSL Brian Setzer Signature

Gretsch Model 6120 SSU Brian Setzer Signature

Gretsch Model 6120 SSUGR Brian Setzer Signature

Gretsch Model 6136SLBP Brian Setzer Black Phoenix

Indie Model With White GT Stripes

Other guitars:

Bigsby Custom - 2003

Effects:

Roland Re-301 Chorus Echo

Amplifiers:

Fender Bassman - 1962

Fender Princeton - 1960

References

External links

Official Brian Setzer web site

Official Stray Cats web site

StarTribune article about life in Minneapolis

Category:Stray Cats members Category:Retro-swing musicians Category:1959 births Category:Living people Category:American bandleaders Category:American blues guitarists Category:American rock guitarists Category:American rockabilly guitarists Category:Lead guitarists Category:American male singers Category:American rock singers Category:Songwriters from New York Category:Rockabilly musicians Category:People from Nassau County, New York Category:Musicians from New York Category:Grammy Award winners

cs:Brian Setzer da:Brian Setzer de:Brian Setzer es:Brian Setzer fr:Brian Setzer it:Brian Setzer nl:Brian Setzer ja:ブライアン・セッツァー no:Brian Setzer pl:Brian Setzer pt:Brian Setzer ru:Сетцер, Брайан fi:Brian Setzer sv:Brian Setzer