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Devdas | |
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File:Devdas.jpg DVD release cover |
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Directed by | Sanjay Leela Bhansali |
Produced by | Bharat Shah |
Story by | Sanjay Leela Bhansali |
Based on | Sarat Chandra Chattopadhyay (novel) |
Starring | Shahrukh Khan Madhuri Dixit Aishwariya Rai Jackie Shroff Kirron Kher |
Music by | Ismail Darbar Monty Sharma |
Cinematography | Binod Pradhan |
Editing by | Bela Sehgal |
Distributed by | Mega Bollywood |
Release date(s) | July 12, 2002 |
Running time | 183 minutes |
Country | India |
Language | Hindi |
Budget | 50 crore (US$9.98 million)[1] |
Box office | 84.30 crore (US$16.82 million)[2] |
Devdas (Hindi: देवदास) is a 2002 Bollywood novel adapted film based on the 1917 Sharat Chandra Chattopadhyay novella Devdas. This is the third Hindi version and the first colour film version of the story in Hindi.[3] The film is directed by Sanjay Leela Bhansali and stars Shahrukh Khan, Madhuri Dixit, and Aishwarya Rai in the leading roles.
At the time of its release, Devdas was the most expensive Bollywood film ever produced, with a reported budget of Rs 50 crores.[4] The film was released in six alternative language versions: English, French, German, Mandarin, Thai, and Punjabi.
Shahrukh Khan's performance as the rebellious alcoholic Devdas is often considered one of his best performances, and won him a Filmfare Award. The song "Dola Re Dola" became a hit with its unique dance duet between Aishwarya Rai and Madhuri Dixit.
The film won five National Awards, ten Filmfare Awards including Best Film, and received a BAFTA nomination for Best Foreign Language Film. It was also India's entry for Best Foreign Language Film at the Oscars. It was ranked #74 in Empire magazines "The 100 Best Films Of World Cinema" in 2010.[5] Time Magazine named Devdas as the best movie of 2002 among all the movies released around the world in 2002.[6]
This was also Madhuri Dixit's last movie prior to her marriage, which resulted in her taking a hiatus from cinema.
Contents |
Sir Narayan Mukherjee (Vijay Crishna), a zamindar, and his wife Kaushalya (Smita Jaykar) have heard that their younger son, Devdas (Shahrukh Khan), is coming home from a law school in England to their mansion in Tal Sonapur, Bengal after an absence of ten years. When Kaushalya tells her neighbor Sumitra about Devdas' impending return, Sumitra is as overjoyed as Devdas' own mother, and with tears in her eyes she reminisces with Kaushalya about Devdas' and her daughter's deep childhood friendship. She describes how when Devdas was sent off to England at the age of ten, her daughter Paro had chased his carriage weeping, trying to return to him 3 rupees that she owed. The young girl Paro had then lit a lamp for Devdas, which she tended throughout her childhood in honor of her dear friend and never allowed to extinguish.
On the day of his return, Kaushalya insists everyone in the family close their eyes so that she will be the first person to see her son. Her plan backfires, however, when instead of coming straight home, Devdas goes to see "Paro" Parvati Chakraborty (Aishwarya Rai), his childhood sweetheart, first. This incident makes Kaushalya jealous and at first she refuses to receive her son when he arrives, but he cajoles her and they joyfully reunite. In the ensuing weeks it becomes clear that the years apart have turned Devdas' and Paro's friendship into love. It seems to everyone, including Paro's mother Sumitra (Kirron Kher), that Devdas and Paro will get married, but Devdas's scheming sister-in-law Kumud (Ananya Khare) reminds Kaushalya of Paro's maternal lineage, which consists of mujra dancers. This is considered inappropriate for an alliance with the Mukherjee family. When Sumitra announces her desire for Devdas and Paro to marry, Kaushalya rejects and humiliates her in public. Devastated, Sumitra vows to ensure that Paro will get an even better marriage, and to find her an husband in a period of seven days. She soon arranges for Paro to marry Thakur Bhuvan Chaudhry (Vijayendra Ghatge), a forty-year-old widowed aristocrat with three grown children.
Meanwhile, Devdas' harsh and ambitious father also rejects Paro and tells Devdas that both Paro and her mother belong in a brothel. Devdas leaves his parents' house and takes refuge at a brothel with his college friend Chunnibabu (Jackie Shroff). He leaves a letter for Paro, falsely stating that love had never existed between them. At the brothel, Devdas meets a good-hearted tawaif (courtesan) named Chandramukhi (Madhuri Dixit), who falls in love with him. Soon, Devdas realizes his mistake in abandoning Paro. He returns to Paro at the time of her wedding to Bhuvan Chaudhry and asks her to elope with him. Paro refuses, reminding him of the way he had discarded her so easily. Grieved, Dev leads Paro to her bridal procession and Paro, still holding the lamp, sobs as she is carried away.
Paro learns from her new aristocrat husband that he has married her only to be mother to his children and lady of the estate, but that his love is only for his late first wife and he has no plan to have a true love relationship with her. Paro dutifully fulfills all her responsibilities, serving as a kind mother to the children and exemplary lady. Devdas, having lost Paro, is heartbroken. He moves to Chandramukhi's brothel permanently and becomes an alcoholic.
When Paro hears that Devdas' father is on his death bed, despite his past cruelties to Devdas and herself, she rushes to his bedside to offer comfort. He asks to see his son Devdas, but Devdas only arrives later, drunk, at his father's funeral.
Eventually, Devdas becomes so ill that the slightest dose of alcohol could kill him. He returns to the family home to heal, and discovers that his sister-in-law has stolen his mother's keys to the family safe. He confronts his sister-in-law and brother demanding they return the keys. An altercation ensues, and when his mother appears asking what is going on, the sister-in-law claims that Devdas had stolen the keys. His mother again believes the sister-in-law and sides against Devdas. Without denouncing the true culprits, Devdas leaves, banished.
News of Dev's alcoholism reaches Paro, who arrives at Chandramukhi's brothel and angrily accuses her of manipulating Devdas into drinking. She soon realizes, however, that Chandramukhi deeply cares for Devdas. Chandramukhi urges Paro to convince Devdas to stop drinking; Paro attempts to persuade him, but Devdas remains stubborn. He promises Paro that before he dies, he will come to her doorstep one last time.
Paro invites Chandramukhi, whom she has befriended, to a celebration of Durga Puja at her husband's home and introduces Chandramukhi to her in-laws without revealing her profession. However, Bhuvan's ill-natured son-in-law Kalibabu (Milind Gunaji), a frequent visitor to Chandramukhi's brothel who made inappropriate advances towards Paro, reveals Chandramukhi's background and humiliates her in front of Bhuvan and the guests. He also tells Bhuvan of Paro's relationship with Devdas. As a result, Bhuvan punishes Paro by permanently forbidding her from leaving the mansion.
Devdas tells Chandramukhi that he loves her but that she must let him go. He decides to travel the country; while on a train, he meets his old friend Chunnibabu, who urges him to drink in the name of friendship. Devdas drinks knowing fully well it will be fatal.
On the verge of death, Devdas travels to Paro's house to honor his promise, collapsing under a tree in front of the main gate. Paro at first is only told that the man outside is an anonymous traveller. She performs prayers inside the house, and as she throws flower petals on the icon, flower petals likewise fall on Devdas outside. Paro then learns that it is Devdas outside the gates, and, screaming his name, runs through the mansion and grounds attempting to reach him. Bhuvan sees this and orders the servants to close the gates, leaving her sobbing inside the gates. Devdas sees a blurred image of Paro running to him, but the gates close before she can reach him and Devdas dies. At the same time, the lamp that Paro had lit for him flickers out.
The major part of the movie was filmed at Film City, Mumbai, recreating the early 20th century Calcutta.[3] The six sets cost about Rs. 200 million. Chandramukhi's kotha was constructed next to an artificial lake, to make it look like a set in Benaras on the Ganges.[7] A temple city surrounded the set, for which inspiration was taken from the Dilwara Temples in Rajasthan.[8] For the creation of Paro's room in a haveli 12,200 pieces of stained glass were used.[9]
Devdas | ||||
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File:Devdas 2002 soundtrack.jpg | ||||
Studio album by Ismail Darbar | ||||
Released | March 2002 | |||
Genre | Soundtrack/Filmi | |||
Label | Universal | |||
Ismail Darbar chronology | ||||
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Professional ratings | |
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Review scores | |
Source | Rating |
Planet Bollywood | [10] |
The film soundtrack was predominately composed by Ismail Darbar while lyrics are penned by Nusrat Badr, Prakash Kapadi and Pandit Birju Maharajand. It features playback singers Shreya Ghoshal (as Parvati), Kavita Krishnamurthy (as Chandramukhi), and Udit Narayan (as Devdas). Shreya Ghoshal made her Bollywood debut through this film. She caught the attention of Ismail Darbar when she participated in Sa Re Ga Ma Pa competition. She was also able to impress Bhansali when she sang bhajan of Lata Mangeshkar.[11] She sang five songs in the album, which won her much critical acclaim and several accolades.[12]
Aniket Joshi of Planet Bollywood gave 9 stars stating, "Rarely have we an album where ALL the songs are perfectly sung, Devdas is such an album."[10]
Track # | Song | Singer (s) | Composition/Lyrics | Length |
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1 | "Silsila Ye Chaahat Ka" | Shreya Ghoshal | Ismail Darbar & Nusrat Badr | 05:26 |
2 | "Maar Dala" | Kavita Krishnamurthy & K.K. | Prakash Kapadia & Nusrat Badr | 04:39 |
3 | "Bairi Piya" | Udit Narayan & Shreya Ghoshal | Ismail Darbar & Nusrat Badr | 05:22 |
4 | "Kaahe Chhed Mohe" | Pt. Birju Maharaj, Kavita Krishnamurthy & Madhuri Dixit | Ismail Darbar & Nusrat Badr | 05:22 |
5 | "Chalak Chalak" | Udit Narayan, Vinod Rathod & Shreya Ghoshal | Ismail Darbar & Nusrat Badr | 05:12 |
6 | "Hamesha Tumko Chaha" | Kavita Krishnamurthy & Udit Narayan | Ismail Darbar & Nusrat Badr | 06:02 |
7 | "Woh Chand Jaisi Ladki" | Udit Narayan | Ismail Darbar & Nusrat Badr | 04:32 |
8 | "Morey Piya" | Jaspinder Narula & Shreya Ghoshal | Sameer | 05:40 |
9 | "Dev's Last Journey - The Theme" | Rashmi Sharma, Supriya Raghav Chatterjee | Ismail Darbar & Nusrat Badr - Music: Monty | 04:09 |
10 | "Dola Re Dola" | Kavita Krishnamurthy, Shreya Ghoshal & Kay Kay | Ismail Darbar & Nusrat Badr | 06:36 |
Devdas won ten awards at the 2002 Filmfare Awards, and was the fourth film to win the four major awards (Best Movie, Best Director, Best Actor and Best Actress).
Devdas won five awards at the 2002 national awards:
Devdas won five awards at the 2002 Star Screen Awards:
Devdas won six awards at the 2003 IIFA Awards:
Devdas won the 2003 Asian Film Award.[14][15][16]
Devdas was nominated for the BAFTA Award for Best Foreign Language Film, 2003.
Devdas was a big hit at the box office. The film grossed 53.5 crore (US$10.67 million) in India thus becoming the highest grossing film of 2002 .[17] It grossed 84.30 crore (US$16.82 million) worldwide.[18] When adjusted for inflation its total gross worldwide is 151.51 crore (US$30.23 million).[19]
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Devdas | |
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200px Devdas novel – Bengali book, front cover! |
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Author(s) | Sarat Chandra Chattopadhyay |
Country | India |
Language | Bengali |
Genre(s) | Novella |
Publisher | GCS |
Publication date | 30 June 1917 |
Media type | Print (Hardback & Paperback) |
ISBN | NA |
Devdas (Bengali: দেবদাস, Debdash; Hindi: देवदास, Devdās) (also called Debdas) (1917) is a Bengali Romance novel by Sarat Chandra Chattopadhyay. Essentially, it is a retelling of the Krishna, Radha, and Meera myths, the relationships between its three protagonists - Devdas, Parvati, and Chandramukhi - paralleling the Hindu deities'.
Contents |
Devdas is a young man from a wealthy Bengali Brahmin family in India in the early 1900s. Paro (Parvati) is a young woman from a middle class Bengali family belonging to the “merchant” caste. The two families lived in a village in Bengal, and Devdas and Paro were childhood friends.
Devdas goes away for thirteen years to live and study in a boarding school in the city of Calcutta (now Kolkata). When, after finishing school, he returns to his village, Paro looks forward to their childhood love blossoming into their lifelong journey together in marriage. Of course, according to the prevailing social custom, Paro's parents would have to approach Devdas' parents and propose marriage of Paro to Devdas as Paro longed for.
When Paro's mother makes the proposal to Devdas' mother, the latter insults her, plainly saying that the marriage is not possible in view of her own higher caste and financial status. To demonstrate her own social status, Paro's mother then finds an even richer husband for Paro.
When Paro learns of her planned marriage, she stealthily meets Devdas at night, desperately believing that Devdas will quickly accept her hand in marriage. Devdas meekly seeks his parents' permission to marry Paro, but Devdas' father agrees with his wife.
In a weak-minded state, Devdas then flees to Calcutta, and from there, he writes a letter to Paro, saying that they were only friends. Within days, however, he realizes that he should have been bolder. He goes back to his village and tells Paro that he is ready to do anything needed to save their love.
By now, Paro's marriage plans are in an advanced stage, and she declines going back to Devdas and chides him for his cowardice and vacillation. She makes, however, one request to Devdas that he would return to her before he dies. Devdas vows to do so.
Devdas goes back to Calcutta and Paro is married off to the betrothed widower with children, who is still in love with his previous wife and is therefore not interested in an amatory relationship with Paro.
In Calcutta, Devdas' carousing friend, Chunnilal, introduces him to a courtesan named Chandramukhi. Devdas takes to heavy drinking at Chandramukhi's place, but the courtesan falls in love with him, and looks after him. His health deteriorates because of a combination of excessive drinking and despair of life—a drawn-out form of suicide. Within him, he frequently compares Paro and Chandramukhi, remaining ambivalent as to whom he really loves.
Sensing his fast-approaching death, Devdas returns to meet Paro to fulfill his vow. He dies at her doorstep on a dark, cold night. On hearing of the death of Devdas, Paro runs towards the door, but her family members prevent her from stepping out of the door.
The novella powerfully depicts the prevailing societal customs in Bengal in the early 1900s, which are largely responsible for preventing the happy ending of a genuine love story.
The novella has been made into a film in many Indian languages, including Bengali, Hindi, Telugu, Tamil, Urdu and Assamese.[1][2][3]
Notable film versions of the novella include:
Year | Title | Language | Director | Cast | Notes | ||
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Devdas | Paro | Chandramukhi | |||||
1927 | Devdas (1927 film) | Naresh Mitra | Phani Sarma | Tarakbala | Niharbala/Miss Parul | ||
1935 | Devdas (1935 film) | Bengali | P.C. Barua | P.C. Barua | Jamuna | Chandrabati Devi | |
1936 | Devdas (1936 film) | Hindi | P.C. Barua | K.L. Saigal | Jamuna | Rajkumari | |
1937 | Devdas (1937 film) | Assamese | P.C. Barua | Phani Sarma | Zubeida | Mohini | |
1953 | Devdas (1953 film) | Tamil and Telugu | Vedantam Raghavaiah | Akkineni Nageswara Rao | Savitri | Lalitha | also known as "Devadasu" |
1955 | Devdas (1955 film) | Hindi | Bimal Roy | Dilip Kumar | Suchitra Sen | Vyjayanthimala | |
1965 | Devdas (1965 film) | Urdu | Khawaja Sarfaraz | Habib Taalish | Shamim Ara | Nayyar Sultana | Pakistani film |
1974 | Devadasu (1974 film) | Telugu | Vijaya Nirmala | Ghattamaneni Krishna | Vijaya Nirmala | Jayanthi | |
1979 | Devdas (1979 film) | Bengali | Dilip Roy | Soumitra Chatterjee | Sumitra Mukherjee | Supriya Choudhury | also known as "Debdas" |
1982 | Devdas (1982 film) | Bengali | Chashi Nazrul Islam | Bulbul Ahmed | Kabori Sarwar | Anwara | Bangladeshi film |
2002 | Devdas (2002 Bengali film) | Bengali | Shakti Samanta | Prasenjit Chatterjee | Arpita Pal | Indrani Halder | |
2002 | Devdas (2002 film) | Hindi | Sanjay Leela Bhansali | Shahrukh Khan | Aishwarya Rai | Madhuri Dixit | |
2009 | Dev.D | Hindi | Anurag Kashyap | Abhay Deol | Mahi Gill | Kalki Koechlin | A modern day take on Devdas |
2010 | Devdas (2010 film) | Iqbal Kasmiri | Nadeem Shah | Zara Shaikh | Meera | Pakistani film | |
2012 | Devdas (2012 film) | Bengali | Chashi Nazrul Islam | Shakib Khan | Apu Biswash | Moushumi | Bangladeshi film |
1. http://www.hinduonnet.com/thehindu/fr/2002/05/31/stories/2002053100950300.htm
List of years in film (table) |
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... 1992 . 1993 . 1994 . 1995 . 1996 . 1997 . 1998 ... 1999 2000 2001 -2002- 2003 2004 2005 ... 2006 . 2007 . 2008 . 2009 . 2010 . 2011 . 2012 ... In home video: 1999 2000 2001 -2002- 2003 2004 2005 In television: 1999 2000 2001 -2002- 2003 2004 2005 |
Art . Archaeology . Architecture . Literature . Music . Science +... |
The year 2002 in film involved some significant events. The first significant releases of sequels took place between The Lord of the Rings: The Two Towers, Harry Potter and the Chamber of Secrets, Star Wars Episode II: Attack of the Clones, Men in Black II, Analyze That, Spy Kids 2: The Island of Lost Dreams, Stuart Little 2, Blade II, the 3rd installment Austin Powers in Goldmember, the 10th installments Star Trek Nemesis and Jason X. 2002 is the only year in which a Star Wars and a Star Trek film were released in the same year.
Contents |
These are the top grossing films that were first released in 2002. The top ten films of 2002, by worldwide gross in $USD, as well as the US & Canada, UK, and Australia grosses, are as follows:
2002 Rank | Title | Studio | Director(s) | Worldwide Gross | U.S./Canada Gross | U.K. Gross | Australia Gross |
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1 | The Lord of the Rings: The Two Towers | New Line Cinema | Peter Jackson | $925,282,504 | $341,786,758 | $91,914,687 | $26,850,032 |
2 | Harry Potter and the Chamber of Secrets | Warner Bros. | Chris Columbus | $878,643,482 | $261,988,482 | $88,104,108 | $20,857,535 |
3 | Spider-Man | Columbia | Sam Raimi | $821,708,551 | $403,706,375 | $45,780,340 | $16,890,782 |
4 | Star Wars Episode II: Attack of the Clones | Fox/Lucasfilm | George Lucas | $649,398,328 | $310,676,740 | $58,762,764 | $18,632,998 |
5 | Men in Black II | Columbia | Barry Sonnenfeld | $441,818,803 | $190,418,803 | $34,571,702 | $9,698,146 |
6 | Die Another Day | MGM | Lee Tamahori | $431,971,116 | $160,942,139 | $59,182,873 | $10,520,593 |
7 | Signs | Touchstone | M. Night Shyamalan | $408,247,917 | $227,966,634 | $25,004,129 | $6,475,864 |
8 | Ice Age | Fox/Blue Sky | Chris Wedge | $383,257,136 | $176,387,405 | $21,425,322 | $10,869,472 |
9 | My Big Fat Greek Wedding | IFC Films | Joel Zwick | $368,744,044 | $241,438,208 | $20,927,227 | $15,168,243 |
10 | Minority Report | DreamWorks/Fox | Steven Spielberg | $358,372,926 | $132,072,926 | $31,388,860 | $6,584,824 |
These numbers are taken from Box Office Mojo, including their 2002 Yearly Box Office Results.
2002 produced fifty-one films that have grossed more than $100 million. Seven films grossed more than $400 million.
Years in film |
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1870s |
1880s |
1890s |
1890 • 1891 • 1892 • 1893 • 1894 1895 • 1896 • 1897 • 1898 • 1899 |
1900s |
1900 • 1901 • 1902 • 1903 • 1904 1905 • 1906 • 1907 • 1908 • 1909 |
1910s |
1910 • 1911 • 1912 • 1913 • 1914 1915 • 1916 • 1917 • 1918 • 1919 |
1920s |
1920 • 1921 • 1922 • 1923 • 1924 1925 • 1926 • 1927 • 1928 • 1929 |
1930s |
1930 • 1931 • 1932 • 1933 • 1934 1935 • 1936 • 1937 • 1938 • 1939 |
1940s |
1940 • 1941 • 1942 • 1943 • 1944 1945 • 1946 • 1947 • 1948 • 1949 |
1950s |
1950 • 1951 • 1952 • 1953 • 1954 1955 • 1956 • 1957 • 1958 • 1959 |
1960s |
1960 • 1961 • 1962 • 1963 • 1964 1965 • 1966 • 1967 • 1968 • 1969 |
1970s |
1970 • 1971 • 1972 • 1973 • 1974 1975 • 1976 • 1977 • 1978 • 1979 |
1980s |
1980 • 1981 • 1982 • 1983 • 1984 1985 • 1986 • 1987 • 1988 • 1989 |
1990s |
1990 • 1991 • 1992 • 1993 • 1994 1995 • 1996 • 1997 • 1998 • 1999 |
2000s |
2000 • 2001 • 2002 • 2003 • 2004 2005 • 2006 • 2007 • 2008 • 2009 |
2010s |
2010 • 2011 • 2012 2013 and beyond |
Category/Organization | 8th Critics' Choice Awards January 17, 2003 |
60th Golden Globe Awards January 19, 2003 |
56th BAFTA Awards February 23, 2003 |
9th Screen Actors Guild Awards March 9, 2003 |
75th Academy Awards March 23, 2003 |
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Drama | Musical or Comedy | |||||
Best Film | Chicago | The Hours | Chicago | The Pianist | Chicago (cast) | Chicago |
Best Director | Steven Spielberg Catch Me If You Can and Minority Report |
Martin Scorsese Gangs of New York |
Roman Polanski The Pianist |
— | Roman Polanski The Pianist |
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Best Actor | Jack Nicholson About Schmidt Daniel Day-Lewis Gangs of New York |
Jack Nicholson About Schmidt |
Richard Gere Chicago |
Daniel Day-Lewis Gangs of New York |
Daniel Day-Lewis Gangs of New York |
Adrien Brody The Pianist |
Best Actress | Julianne Moore Far from Heaven |
Nicole Kidman The Hours |
Renée Zellweger Chicago |
Nicole Kidman The Hours |
Renée Zellweger Chicago |
Nicole Kidman The Hours |
Best Supporting Actor | Chris Cooper Adaptation. |
Chris Cooper Adaptation. |
Christopher Walken Catch Me If You Can |
Christopher Walken Catch Me If You Can |
Chris Cooper Adaptation. |
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Best Supporting Actress | Catherine Zeta-Jones Chicago |
Meryl Streep Adaptation. |
Catherine Zeta-Jones Chicago |
Catherine Zeta-Jones Chicago |
Catherine Zeta-Jones Chicago |
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Best Screenplay, Adapted | Adaptation. and Confessions of a Dangerous Mind Charlie |
About Schmidt Alexander Payne and Jim Taylor |
Adaptation. Charlie and Donald Kaufman |
— | The Pianist Ronald Harwood |
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Best Screenplay, Original | Talk to Her Pedro Almodóvar |
— | Talk to Her Pedro Almodóvar |
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Best Score | Catch Me If You Can John Williams |
Frida Elliot Goldenthal |
The Hours Philip Glass |
— | Frida Elliot Goldenthal |
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Best Foreign Language Film | 'And Your Mother Too' (Y Tu Mamá También) |
Talk to Her (Hable con ella) |
Talk to Her (Hable con ella) |
— | Nowhere in Africa (Nirgendwo in Afrika) |
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Best Animated Film | Spirited Away (Sen to Chihiro no kamikakushi) |
— | — | — | Spirited Away (Sen to Chihiro no kamikakushi) |
Palme d'Or (Cannes Film Festival):
Golden Lion (Venice Film Festival):
Golden Bear (Berlin Film Festival):
Month | Date | Name | Age | Country | Profession | Notable films |
January | 1 | Julia Phillips | 57 | USA | Producer | Taxi Driver • Close Encounters of the Third Kind • The Sting • Steelyard Blues • Don't Tell Mom the Babysitter's Dead |
6 | Mario Nascimbene | 88 | Italy | Composer | The Vikings • Room at the Top •The Barefoot Contessa | |
7 | Avery Schreiber | 66 | USA | Actor | Robin Hood: Men in Tights • Dracula: Dead and Loving It • Galaxina • The Concorde ... Airport '79 | |
9 | Bill McCutcheon | 77 | USA | Actor | Steel Magnolias • Family Business • Tune in Tomorrow • Vibes • W.W. and the Dixie Dancekings | |
13 | Ted Demme | 38 | USA | Director, Producer | Blow • Rounders • Life • The Ref • Beautiful Girls • Snitch | |
17 | Queenie Leonard | 96 | UK | Actress | Alice in Wonderland • One Hundred and One Dalmatians • My Fair Lady | |
19 | Roy Conrad | 61 | USA | Actor | Patch Adams • Casino • The Wizard • Pink Cadillac • The Fan • Titan A.E. | |
21 | Peggy Lee | 81 | USA | Singer, Actress | Lady and the Tramp • Pete Kelly's Blues • The Jazz Singer | |
February | 1 | Hildegard Knef | 76 | Germany | Actress | The Snows of Kilimanjaro • Fedora • Murderers Among Us • Decision Before Dawn • The Dirty Dozen |
11 | Barry Foster | 74 | UK | Actor | Frenzy • Ryan's Daughter • Maurice • Rancid Aluminum | |
13 | Waylon Jennings | 64 | USA | Singer, Actor | Sesame Street Presents Follow That Bird • Moonrunners • Nashville Rebel • Mackintosh and T.J. | |
18 | Byrne Piven | 72 | USA | Actor | Being John Malkovich • Miracle on 34th Street • Very Bad Things • Trojan War | |
20 | Fredric Steinkamp | 73 | USA | Film Editor | Tootsie • Out of Africa • Scrooged • The Firm • Sabrina • Adventures in Babysitting • They Shoot Horses, Don't They? • The Unsinkable Molly Brown | |
26 | Lawrence Tierney | 82 | USA | Actor | Reservoir Dogs • The Naked Gun • Junior • The Greatest Show on Earth • Prizzi's Honor • Armageddon • Tough Guys Don't Dance | |
27 | Spike Milligan | 83 | India | Actor | Life of Brian • The Big Freeze • History of the World: Part I | |
March | 1 | Robert Weil | 87 | USA | Actor | The Little Mermaid • Moonstruck • Saturday Night Fever • The Hudsucker Proxy • The Taking of Pelham One Two Three • The French Connection • The Naked Gun 2 1/2 |
4 | Claire Davenport | 68 | UK | Actress | Star Wars Episode VI: Return of the Jedi • The Elephant Man • The Return of the Pink Panther | |
4 | Eric Flynn | 62 | China | Actor | Empire of the Sun • Safari 3000 | |
4 | Shirley Russell | 66 | UK | Costume Designer | Reds • Tommy • Hope and Glory • Enigma • FairyTale: A True Story | |
18 | Denis Forest | 41 | Canada | Actor | The Mask • Cliffhanger • Eraser | |
23 | Richard Sylbert | 73 | USA | Production Designer | Chinatown • The Graduate • Rosemary's Baby • Who's Afraid of Virginia Woolf? • Dick Tracy • My Best Friend's Wedding • Carlito's Way • The Manchurian Candidate • Mobsters • The Bonfire of the Vanities • Mulholland Falls | |
27 | Milton Berle | 93 | USA | Actor, Comedian | It's a Mad, Mad, Mad, Mad World • The Muppet Movie • Where Angels Go, Trouble Follows • Journey Back to Oz | |
27 | Dudley Moore | 66 | UK | Actor | Arthur • 10 • Santa Claus: The Movie • Bedazzled • Derek and Clive Get the Horn • Like Father Like Son • Crazy People | |
27 | Billy Wilder | 95 | Poland | Director, Screenwriter | The Apartment • Some Like it Hot • Sunset Boulevard • The Fortune Cookie • Stalag 17 • Sabrina • The Spirit of St. Louis • Avanti! • One, Two, Three | |
April | 4 | Harry O'Connor | 44 | USA | Stuntman | The Perfect Storm • XXX • Charlie's Angels • K-PAX • Air Force One • The Animal |
15 | Robert Urich | 55 | USA | Actor | Magnum Force • Endangered Species | |
19 | Reginald Rose | 81 | USA | Screenwriter | 12 Angry Men • The Wild Geese • The Sea Wolves • Whose Life Is It Anyway? | |
25 | Michael Bryant | 74 | UK | Actor | Gandhi • Hamlet • Goodbye, Mr. Chips • The Miracle Maker | |
May | 5 | George Sidney | 85 | USA | Director | Viva Las Vegas • Showboat • Anchors Aweigh • Bye Bye Birdie |
11 | Bill Peet | 87 | USA | Screenwriter | Dumbo • Peter Pan • Fantasia • Alice in Wonderland • The Sword and the Stone • Cinderella • One Hundred and One Dalmatians | |
15 | Bryan Pringle | 67 | USA | Actor | Brazil • Three Men and a Little Lady • Jabberwocky | |
June | 3 | Sam Whipple | 41 | USA | Actress | The Rock • The Doors • Airheads • Blue City |
9 | James Wheaton | 78 | USA | Actor | THX 1138 | |
28 | Robert S. Mendelsohn | 68 | USA | Production Manager | Se7en • The Onion Field • Barb Wire | |
29 | Rosemary Clooney | 74 | USA | Singer, Actress | White Christmas • Radioland Murders • Deep in My Heart • Red Garters | |
July | 4 | Ivan Moffat | 84 | Cuba | Screenwriter | Giant • Black Sunday • Bhowani Junction • They Came to Cordura • Hitler: The Last Ten Days |
5 | Katy Jurado | 78 | Mexico | Actress | High Noon • One-Eyed Jacks • Under the Volcano • Pat Garrett and Billy the Kid • The Hi-Lo Country | |
6 | John Frankenheimer | 72 | USA | Director, Producer, Actor | The Manchurian Candidate • Ronin • Reindeer Games • French Connection II • The Island of Dr. Moreau • Birdman of Alcatraz • The General's Daughter | |
9 | Rod Steiger | 77 | USA | Actor | In the Heat of the Night • Mars Attacks! • On the Waterfront • Doctor Zhivago • The Amityville Horror • The Hurricane • The Longest Day • Oklahoma! • End of Days • Lion of the Desert • The Specialist | |
15 | Philip Roth | 72 | USA | Actor | One Flew Over the Cuckoo's Nest • Harry and Tonto • What's Up, Doc? • The Baltimore Bullet • Linda Lovelace for President | |
26 | Buddy Baker | 84 | USA | Composer | The Fox and the Hound • The Apple Dumpling Gang | |
August | 5 | Josh Ryan Evans | 20 | USA | Actor | How the Grinch Stole Christmas |
15 | Yuriy Yakovlev | 71 | Bulgaria | Actor | The Past-Master • Gerlovo Event • A Peasant on a Bicycle • Farsighted for Two Diopters | |
16 | Jeff Corey | 88 | USA | Actor | Butch Cassidy and the Sundance Kid • True Grit • Little Big Man • Beethoven's 2nd • Conan the Destroyer • Color of Night | |
23 | Dennis Fimple | 78 | USA | Actor | Maverick • House of 1000 Corpses • King Kong • Stay Hungry • Down Periscope | |
30 | J. Lee Thompson | 88 | UK | Director | The Guns of Navarone • Cape Fear • Conquest of the Planet of the Apes • Death Wish 4: The Crackdown • Huckleberry Finn | |
September | 3 | Ted Ross | 68 | USA | Actor | The Fisher King • Police Academy • Arthur • The Wiz |
7 | Katrin Cartlidge | 41 | UK | Actress | From Hell • Breaking the Waves • Topsy-Turvy | |
7 | Michael Elphick | 55 | UK | Actor | Cry of the Banshee • O Lucky Man! • The First Great Train Robbery • The Elephant Man • Krull • Gorky Park • Withnail & I • Little Dorrit David Copperfield | |
11 | Kim Hunter | 79 | USA | Actress | A Streetcar Named Desire • Planet of the Apes • Storm Center • Midnight in the Garden of Good and Evil • The Seventh Victim | |
16 | James Gregory | 90 | USA | Actor | The Manchurian Candidate • The Flight of Dragons • The Love God? • Beneath the Planet of the Apes | |
22 | Carmen Phillips | 65 | USA | Actress | Easy Rider • Please Don't Eat the Daisies | |
October | 3 | Tad Horino | 81 | USA | Actor | Mulholland Drive • Red Sonja • Kung Pow! Enter the Fist • Teenage Mutant Ninja Turtles III • Bill & Ted's Bogus Journey |
4 | Buddy Lester | 85 | USA | Actor | Ocean's Eleven • The Nutty Professor | |
18 | Chuck Domanico | 58 | USA | Musician | Midnight Run • The Truth About Cats & Dogs • The Edge • The Big Kahuna | |
21 | George Hall | 85 | Canada | Actor | Big Daddy • Mrs. Brown • From the Hip | |
24 | Charmian May | 94 | UK | Actress | Bridget Jones's Diary • The Dawning • Highlander: Endgame • Paper Mask | |
25 | Richard Harris | 72 | UK | Actor | Unforgiven • Gladiator • Camelot • The Guns of Navarone • Harry Potter and the Philosopher's Stone • The Count of Monte Cristo • Mutiny on the Bounty • Patriot Games • The Cassandra Crossing • The Wild Geese • The Bible: In the Beginning • Caprice • Harry Potter and the Chamber of Secrets | |
27 | André De Toth | 90 | Hungary | Director, Screenwriter | House of Wax • The Gunfighter • Play Dirty • The Indian Fighter • Crime Wave | |
28 | Lawrence Dobkin | 83 | USA | Actor, Director, Screenwriter | Patton • The Ten Commandments • The Defiant Ones • Johnny Yuma | |
31 | Raf Vallone | 86 | Italy | Actor | The Godfather: Part III • El Cid • The Italian Job • The Other Side of Midnight • Lion of the Desert | |
November | 1 | Keith A. Wester | 62 | USA | Sound Engineer | The Rock • Air Force One • The Princess Diaries • Armageddon • Waterworld • The Perfect Storm • Orange County • G.I. Jane • Cradle 2 the Grave • Wayne's World 2 |
3 | Jonathan Harris | 87 | USA | Actor | Toy Story 2 • A Bug's Life • Lost in Space | |
9 | Merlin Santana | 26 | USA | Actor | Showtime | |
14 | Eddie Bracken | 87 | USA | Actor | The Miracle of Morgan's Creek • Home Alone 2: Lost in New York • Vacation • Oscar • Baby's Day Out | |
18 | James Coburn | 74 | USA | Actor | The Great Escape • Affliction • Monsters Inc. • Eraser • Maverick • Snow Dogs • Young Guns II • Hudson Hawk • The Muppet Movie • Our Man Flint • Sister Act 2: Back in the Habit | |
22 | Parley Baer | 88 | USA | Actor | Dave • Space Case • The Young Lions • Last of the Dogmen | |
24 | Noel Davis | 75 | UK | Casting Director | Reds • Robin Hood: Prince of Thieves • Ishtar • Jane Eyre • Incognito | |
27 | Billie Bird | 94 | USA | Actress | Home Alone • Dennis the Menace • Sixteen Candles • Ernest Saves Christmas • Jury Duty • Police Academy 4: Citizens on Patrol | |
27 | Roger Kemp | 71 | UK | Actor | Superman II • Pink Floyd The Wall • Dragonslayer | |
December | 12 | Brad Dexter | 85 | USA | Actor | The Magnificent Seven • The Asphalt Jungle • Shampoo • The Las Vegas Story • Run Silent Run Deep |
14 | Ruth Kobart | 78 | USA | Actress | Dirty Harry • Sister Act • How to Succeed in Business Without Really Trying | |
15 | Arthur Jeph Parker | 79 | USA | Set Decorator | Silverado • Private Benjamin • The China Syndrome • The Shootist • Dragnet | |
27 | George Roy Hill | 81 | USA | Director | Butch Cassidy and the Sundance Kid • The Sting • Slap Shot • Hawaii • The Great Waldo Pepper |
In the film industry, a wide-release film is a film that studios believe will appeal to a broad spectrum of the public and that shows in at least 600 theatres in the United States and Canada. The following films meet these criteria: Dates given are U.S. and Canadian release dates.
Films released in the United States in 2002 include:
Opening | Title | Studio | Cast & Crew | ||
J A N U A R Y |
|||||
4 | W | Impostor | Miramax Films | Gary Sinise, Madeleine Stowe, Vincent D'Onofrio | |
11 | W | Orange County | Paramount Pictures | Colin Hanks, Jack Black, Schuyler Fisk, Bret Harrison, Kyle Howard, Catherine O'Hara, Mike White | |
18 | W | Snow Dogs | Walt Disney Pictures | Dir: Brian Levant; Cuba Gooding, Jr., James Coburn, Nichelle Nichols, Joanna Bacalso, Sisqo | |
25 | W | The Count of Monte Cristo | Touchstone Pictures | James Caviezel, Guy Pearce, Richard Harris, Dagmara Dominczyk | |
Kung Pow! Enter the Fist | 20th Century Fox | Steve Oedekerk, Jennifer Tung, Lung Fei, Leo Lee | |||
The Mothman Prophecies | Screen Gems | Richard Gere, Laura Linney, Debra Messing, Will Patton, Lucinda Jenney | |||
A Walk to Remember | Warner Bros. | Mandy Moore, Shane West | |||
F E B R U A R Y |
|||||
1 | W | Birthday Girl | Miramax Films | Nicole Kidman, Ben Chaplin, Vincent Cassel, Mathieu Kassovitz | |
Slackers | Screen Gems | Jason Schwartzman, Devon Sawa, Jason Segel, Mike Maronna, Jaime King, Laura Prepon | |||
8 | W | Big Fat Liar | Universal Studios | Dir: Shawn Levy; Frankie Muniz, Paul Giamatti, Amanda Bynes, Amanda Detmer, Donald Faison | |
Collateral Damage | Warner Bros. | Dir: Andrew Davis; Arnold Schwarzenegger, Elias Koteas, Francesca Neri, John Leguizamo, John Turturro | |||
Rollerball | Metro-Goldwyn-Mayer | Dir: John McTiernan; Chris Klein, Jean Reno, LL Cool J, Rebecca Romijn, Naveen Andrews | |||
15 | W | Crossroads | Paramount Pictures | Dir: Tamra Davis; Britney Spears, Anson Mount, Zoe Saldana, Taryn Manning, Kim Cattrall, Dan Aykroyd | |
Hart's War | Metro-Goldwyn-Mayer | Bruce Willis, Colin Farrell, Terrence Howard, Cole Hauser, Marcel Iureş | |||
John Q | New Line Cinema | Denzel Washington, Robert Duvall, James Woods, Anne Heche, Eddie Griffin, Kimberly Elise | |||
Return to Never Land | Walt Disney Pictures | Blayne Weaver, Harriet Owen, Corey Burton, Jeff Bennett, Kath Soucie, Roger Rees, Spencer Breslin, Bradley Pierce, Jim Cummings, Clive Revill, Dan Castellaneta | |||
Super Troopers | Fox Searchlight Pictures | Jay Chandrasekhar, Kevin Heffernan, Steve Lemme, Paul Soter, Erik Stolhanske, Brian Cox | |||
22 | W | Dragonfly | Universal Studios | Kevin Costner, Joe Morton, Ron Rifkin, Linda Hunt, Kathy Bates | |
Queen of the Damned | Warner Bros. | Aaliyah, Stuart Townsend, Marguerite Moreau, Paul McGann, Vincent Perez, Lena Olin | |||
M A R C H |
1 | W | 40 Days and 40 Nights | Miramax Films | Dir: Michael Lehmann; Josh Hartnett, Shannyn Sossamon, Paulo Costanzo |
We Were Soldiers | Paramount Pictures | Mel Gibson, Sam Elliott, Madeleine Stowe, Greg Kinnear, Don Duong, Chris Klein, Keri Russell | |||
8 | W | All About the Benjamins | New Line Cinema | Ice Cube, Mike Epps, Eva Mendes, Tommy Flanagan, Carmen Chaplin, Valarie Rae Miller | |
The Time Machine | DreamWorks | Guy Pearce, Samantha Mumba, Mark Addy, Sienna Guillory, Phyllida Law, Alan Young, Omero Mumba | |||
15 | W | Ice Age | 20th Century Fox | Ray Romano, John Leguizamo, Denis Leary | |
Resident Evil | Screen Gems | Milla Jovovich, Michelle Rodriguez, Eric Mabius, James Purefoy, Martin Crewes, Colin Salmon | |||
Showtime | Warner Bros. | Dir: Tom Dey; Robert De Niro, Eddie Murphy, Rene Russo, William Shatner | |||
22 | W | Blade II | New Line Cinema | Wesley Snipes, Kris Kristofferson, Ron Perlman, Thomas Kretschmann, Leonor Varela, Danny John-Jules | |
Ali G Indahouse | Universal Studios | Sacha Baron Cohen, Martin Freeman, Michael Gambon | |||
Sorority Boys | Touchstone Pictures | Barry Watson, Michael Rosenbaum, Harland Williams, Melissa Sagemiller, Heather Matarazzo | |||
R | E.T. (20th anniversary edition) | Universal Pictures | Dir: Steven Spielberg; Dee Wallace, Peter Coyote, Drew Barrymore, Henry Thomas | ||
29 | W | Clockstoppers | Paramount Pictures | Jesse Bradford, Paula Garcés, French Stewart | |
Death to Smoochy | Warner Bros. | Dir: Danny DeVito; Robin Williams, Edward Norton, Danny DeVito, Catherine Keener, Jon Stewart | |||
Panic Room | Columbia Pictures | Dir: David Fincher; Jodie Foster, Kristen Stewart, Forest Whitaker, Dwight Yoakam, Jared Leto | |||
The Rookie | Walt Disney Pictures | Dennis Quaid, Rachel Griffiths, Jay Hernandez, Brian Cox |
Opening | Title | Studio | Cast & Crew | ||
A P R I L |
5 | W | Big Trouble | Touchstone Pictures | Dir: Barry Sonnenfeld; Tim Allen, Rene Russo, Stanley Tucci, Tom Sizemore, Johnny Knoxville |
High Crimes | 20th Century Fox | Ashley Judd, Morgan Freeman, James Caviezel, Adam Scott, Amanda Peet, Bruce Davison, Tom Bower | |||
National Lampoon's Van Wilder | Artisan Entertainment | Dir: Walt Becker; Ryan Reynolds, Tara Reid, Kal Penn | |||
12 | W | Changing Lanes | Paramount Pictures | Ben Affleck, Samuel L. Jackson, Toni Collette, Sydney Pollack, William Hurt, Amanda Peet | |
Frailty | Lions Gate Entertainment | Bill Paxton, Matthew McConaughey, Powers Boothe, Matt O'Leary, Jeremy Sumpter | |||
The Sweetest Thing | Columbia Pictures | Cameron Diaz, Christina Applegate, Selma Blair, Thomas Jane, Jason Bateman, Parker Posey | |||
19 | W | Murder by Numbers | Warner Bros. | Dir: Barbet Schroeder; Sandra Bullock, Ben Chaplin, Ryan Gosling, Michael Pitt | |
My Big Fat Greek Wedding ‡ | IFC Films | Nia Vardalos, John Corbett, Lainie Kazan, Michael Constantine, Ian Gomez | |||
The Scorpion King | Universal Studios | Dwayne Johnson, Steven Brand, Kelly Hu, Bernard Hill, Grant Heslov, Peter Facinelli, Ralf Möller | |||
26 | W | Jason X | New Line Cinema | Kane Hodder, Lexa Doig, Lisa Ryder, Chuck Campbell, Jonathan Potts, Peter Mensah, Melyssa Ade | |
Life or Something Like It | 20th Century Fox | Dir: Stephen Herek; Angelina Jolie, Edward Burns, Stockard Channing, Christian Kane, Tony Shalhoub | |||
M A Y |
3 | W | Deuces Wild | Metro-Goldwyn-Mayer | Stephen Dorff, Brad Renfro, Fairuza Balk, Norman Reedus, Max Perlich |
Hollywood Ending | DreamWorks | Woody Allen, George Hamilton, Téa Leoni, Debra Messing, Mark Rydell, Treat Williams, Peter Gerety | |||
Spider-Man | Columbia Pictures | Dir: Sam Raimi; Tobey Maguire, Willem Dafoe, Kirsten Dunst, James Franco, Cliff Robertson, Rosemary Harris | |||
8 | W | Unfaithful | 20th Century Fox | Dir: Adrian Lyne; Diane Lane, Richard Gere, Olivier Martinez, Erik Per Sullivan | |
10 | W | The New Guy | Columbia Pictures | DJ Qualls, Eliza Dushku, Zooey Deschanel | |
16 | W | Star Wars Episode II: Attack of the Clones | 20th Century Fox | Dir: George Lucas; Ewan McGregor, Natalie Portman, Hayden Christensen, Frank Oz, Samuel L. Jackson, Christopher Lee | |
17 | W | About a Boy | Universal Studios | Dir: Chris Weitz and Paul Weitz; Hugh Grant, Nicholas Hoult, Toni Collette, Rachel Weisz, Sharon Small | |
24 | W | Enough | Columbia Pictures | Dir: Michael Apted; Jennifer Lopez, Billy Campbell, Juliette Lewis, Dan Futterman, Fred Ward, Tessa Allen | |
Insomnia | Warner Bros. | Dir: Christopher Nolan; Al Pacino, Robin Williams, Hilary Swank, Maura Tierney, Martin Donovan | |||
Spirit: Stallion of the Cimarron | DreamWorks Animation | Matt Damon, James Cromwell, Daniel Studi | |||
31 | W | The Sum of All Fears | Paramount Pictures | Ben Affleck, Morgan Freeman, James Cromwell, Ciarán Hinds, Liev Schreiber, Bridget Moynahan | |
Undercover Brother | Universal Studios | Eddie Griffin, Chris Kattan, Dave Chappelle, Denise Richards, Aunjanue Ellis, Neil Patrick Harris | |||
J U N E |
7 | W | Bad Company | Touchstone Pictures | Dir: Joel Schumacher; Anthony Hopkins, Chris Rock |
Divine Secrets of the Ya-Ya Sisterhood | Warner Bros. | Sandra Bullock, Ashley Judd, James Garner | |||
14 | W | The Bourne Identity | Universal Studios | Matt Damon, Franka Potente, Chris Cooper, Brian Cox, Julia Stiles, Clive Owen | |
Scooby-Doo | Warner Bros. | Dir: Raja Gosnell; Freddie Prinze, Jr., Sarah Michelle Gellar, Matthew Lillard, Rowan Atkinson | |||
Windtalkers | Metro-Goldwyn-Mayer | Nicolas Cage, Christian Slater, Adam Beach | |||
21 | W | Juwanna Mann | Warner Bros. | Miguel A. Núñez Jr., Vivica A. Fox, Kevin Pollak, Tommy Davidson, Kim Wayans, Ginuwine | |
Lilo & Stitch | Walt Disney Pictures | Daveigh Chase, Chris Sanders, Tia Carrere, David Ogden Stiers, Kevin McDonald, Ving Rhames | |||
Minority Report | 20th Century Fox | Dir: Steven Spielberg; Tom Cruise, Colin Farrell, Max von Sydow, Steve Harris, Neal McDonough | |||
28 | W | Hey Arnold!: The Movie | Paramount Pictures | Spencer Klein, Francesca Smith, Jamil Walker Smith, Dan Castellaneta, Tress MacNeille | |
Mr. Deeds | Columbia Pictures | Dir: Steven Brill; Adam Sandler, Winona Ryder, Peter Gallagher, Jared Harris, Allen Covert, John Turturro |
Opening | Title | Studio | Cast & Crew | ||
J U L Y |
3 | W | Like Mike | 20th Century Fox | Bow Wow, Brenda Song, Morris Chestnut, Jonathan Lipnicki |
Men in Black II | Columbia Pictures | Dir: Barry Sonnenfeld; Tommy Lee Jones, Will Smith, Rip Torn, Lara Flynn Boyle, Johnny Knoxville, Rosario Dawson | |||
The Powerpuff Girls Movie | Warner Bros. | Cathy Cavadini; Tara Strong; Elizabeth Daily; Roger L. Jackson; Tom Kane; Tom Kenny; Jennifer Hale | |||
12 | W | The Crocodile Hunter: Collision Course | Metro-Goldwyn-Mayer | Steve Irwin, Terri Irwin, Neil Fanning, Magda Szubanski, David Wenham, Lachy Hulme, Aden Young | |
Halloween: Resurrection | Dimension Films | Busta Rhymes, Bianca Kajlich, Thomas Ian Nicholas, Ryan Merriman, Daisy McCrackin, Katee Sackhoff | |||
Reign of Fire | Touchstone Pictures | Christian Bale, Matthew McConaughey, Izabella Scorupco, Gerard Butler, Alice Krige | |||
Road to Perdition | DreamWorks | Dir: Sam Mendes; Tom Hanks, Paul Newman, Jude Law, Jennifer Jason Leigh, Daniel Craig | |||
17 | W | Eight Legged Freaks | Warner Bros. | David Arquette, Kari Wührer, Scarlett Johansson, Doug E. Doug | |
19 | W | K-19: The Widowmaker | Paramount Pictures | Dir: Kathryn Bigelow; Harrison Ford, Liam Neeson | |
Stuart Little 2 | Columbia Pictures | Michael J. Fox, Melanie Griffith, Nathan Lane, Hugh Laurie, Geena Davis, Jonathan Lipnicki, James Woods | |||
26 | W | Austin Powers in Goldmember | New Line Cinema | Dir: Jay Roach; Mike Myers, Beyoncé Knowles, Michael Caine, Seth Green, Michael York, Robert Wagner, Mindy Sterling, Verne Troyer | |
The Country Bears | Walt Disney Pictures | Don Henley, Haley Joel Osment, Diedrich Bader, Queen Latifah, Elton John, Christopher Walken | |||
A U G U S T |
2 | W | Martin Lawrence Live: Runteldat | Paramount Pictures | Martin Lawrence |
The Master of Disguise | Columbia Pictures | Dana Carvey, Jennifer Esposito, Harold Gould, James Brolin, Brent Spiner, Bo Derek | |||
Signs | Touchstone Pictures | Dir: M. Night Shyamalan; Mel Gibson, Joaquin Phoenix, Rory Culkin, Abigail Breslin | |||
7 | W | Spy Kids 2: The Island of Lost Dreams | Dimension Films | Dir: Robert Rodriguez; Alexa Vega, Emily Osment, Daryl Sabara, Antonio Banderas, Carla Gugino | |
9 | W | Blood Work | Warner Bros. | Clint Eastwood, Jeff Daniels, Anjelica Huston, Wanda De Jesus | |
xXx | Columbia Pictures | Vin Diesel, Asia Argento, Marton Csokas, Samuel L. Jackson | |||
16 | W | The Adventures of Pluto Nash | Warner Bros. | Dir: Ron Underwood; Eddie Murphy, Randy Quaid, Rosario Dawson, Joe Pantoliano, Jay Mohr, Luis Guzmán, James Rebhorn, Pam Grier, Burt Young | |
Blue Crush | Universal Studios | Kate Bosworth, Michelle Rodriguez, Matthew Davis, Sanoe Lake, Mika Boorem | |||
21 | W | One Hour Photo ‡ | Fox Searchlight Pictures | Robin Williams, Connie Nielsen, Michael Vartan, Dylan Smith, Gary Cole, Eriq La Salle | |
23 | W | Serving Sara | Paramount Pictures | Matthew Perry, Elizabeth Hurley, Bruce Campbell | |
S1m0ne | New Line Cinema | Al Pacino, Catherine Keener, Rachel Roberts | |||
Undisputed | Miramax Films | Wesley Snipes, Ving Rhames, Peter Falk, Michael Rooker, Jon Seda, Wes Studi, Fisher Stevens | |||
30 | W | FeardotCom | Warner Bros. | Stephen Dorff, Natascha McElhone, Stephen Rea | |
S E P T E M B E R |
6 | W | City by the Sea | Warner Bros. | Robert De Niro, Eliza Dushku, James Franco |
Swimfan | 20th Century Fox | Jesse Bradford, Erika Christensen, Shiri Appleby, Clayne Crawford, Jason Ritter, Dan Hedaya | |||
13 | W | Barbershop | Metro-Goldwyn-Mayer | Ice Cube, Cedric the Entertainer | |
Stealing Harvard | Columbia Pictures | Jason Lee, Tom Green, Leslie Mann, Dennis Farina, Richard Jenkins, John C. McGinley, Tammy Blanchard | |||
20 | W | Ballistic: Ecks vs. Sever | Warner Bros. | Antonio Banderas, Lucy Liu, Gregg Henry, Ray Park, Talisa Soto | |
The Banger Sisters | Fox Searchlight Pictures | Goldie Hawn, Susan Sarandon, Geoffrey Rush | |||
The Four Feathers | Paramount Pictures | Heath Ledger, Wes Bentley, Djimon Hounsou, Kate Hudson | |||
Trapped | Columbia Pictures | Charlize Theron, Courtney Love, Stuart Townsend, Kevin Bacon, Dakota Fanning | |||
27 | W | Sweet Home Alabama | Touchstone Pictures | Reese Witherspoon, Josh Lucas, Patrick Dempsey, Fred Ward, Candice Bergen, Mary Kay Place | |
The Tuxedo | DreamWorks | Jackie Chan, Jennifer Love Hewitt, Jason Isaacs |
Opening | Title | Studio | Cast & Crew | ||
O C T O B E R |
4 | W | Jonah: A VeggieTales Movie | Artisan Entertainment | Phil Vischer, Mike Nawrocki |
Red Dragon | Universal Studios | Dir: Brett Ratner; Edward Norton, Anthony Hopkins, Ralph Fiennes, Harvey Keitel, Emily Watson, Philip Seymour Hoffman | |||
11 | W | Brown Sugar | Fox Searchlight Pictures | Taye Diggs, Sanaa Lathan, Mos Def, Nicole Ari Parker, Boris Kodjoe, Queen Latifah | |
Knockaround Guys | New Line Cinema | Barry Pepper, Seth Green, Vin Diesel, John Malkovich, Dennis Hopper | |||
The Rules of Attraction | Lions Gate Entertainment | James van der Beek, Shannyn Sossamon, Ian Somerhalder, Kip Pardue, Clifton Collins, Jr., Kate Bosworth | |||
The Transporter | 20th Century Fox | Jason Statham, Shu Qi, Matt Schulze, François Berléand | |||
Tuck Everlasting | Walt Disney Pictures | Alexis Bledel, William Hurt, Sissy Spacek, Jonathan Jackson, Scott Bairstow, Ben Kingsley, Victor Garber | |||
White Oleander | Warner Bros. | Alison Lohman, Michelle Pfeiffer, Robin Wright Penn, Renee Zellweger | |||
18 | W | Abandon | Paramount Pictures | Katie Holmes, Benjamin Bratt, Zooey Deschanel, Elizabeth Whitmere, Fred Ward | |
The 51st State | Screen Gems | Samuel L. Jackson, Robert Carlyle, Emily Mortimer, Meat Loaf | |||
The Ring | DreamWorks | Dir: Gore Verbinski; Naomi Watts, Daveigh Chase, Martin Henderson, David Dorfman, Brian Cox | |||
25 | W | Ghost Ship | Warner Bros. | Gabriel Byrne, Julianna Margulies, Desmond Harrington, Isiah Washington, Ron Eldard, Karl Urban | |
Jackass: The Movie | Paramount Pictures | Johnny Knoxville, Bam Margera, Chris Pontius, Steve-O, Ryan Dunn, Dave England, Jason Acuña | |||
The Truth About Charlie | Universal Studios | Dir: Jonathan Demme; Mark Wahlberg, Thandie Newton, Tim Robbins, Ted Levine, Lisa Gay Hamilton | |||
Time Changer | Five & Two Pictures | Dir: Rich Christiano; D. David Morin, Jennifer O'Neill, Hal Linden, Gavin MacLeod, Paul Rodriguez | |||
N O V E M B E R |
1 | W | I Spy | Columbia Pictures | Dir: Betty Thomas; Eddie Murphy, Owen Wilson, Famke Janssen, Malcolm McDowell, Gary Cole |
The Santa Clause 2 | Walt Disney Pictures | Tim Allen, Elizabeth Mitchell, David Krumholtz, Eric Lloyd, Judge Reinhold, Wendy Crewson | |||
6 | W | Femme Fatale | Warner Bros. | Dir: Brian De Palma; Rebecca Romijn, Antonio Banderas | |
8 | W | 8 Mile | Universal Studios | Dir: Curtis Hanson; Eminem, Kim Basinger, Brittany Murphy, Mekhi Phifer | |
15 | W | Half Past Dead | Screen Gems | Morris Chestnut, Steven Seagal, Ja Rule, Kurupt | |
Harry Potter and the Chamber of Secrets | Warner Bros. | Daniel Radcliffe, Rupert Grint, Emma Watson, Richard Harris, Maggie Smith, Robbie Coltrane, Kenneth Branagh, Alan Rickman, Jason Isaacs, Richard Griffiths, Fiona Shaw, Julie Walters, Warwick Davis | |||
22 | W | Die Another Day | Metro-Goldwyn-Mayer | Pierce Brosnan, Halle Berry, Toby Stephens, Rick Yune, Rosamund Pike, Judi Dench, Will Yun Lee | |
The Emperor's Club | Universal Studios | Kevin Kline, Emile Hirsch, Embeth Davidtz, Rob Morrow, Edward Hermann, Harris Yulin, Paul Dano | |||
Friday After Next | New Line Cinema | Ice Cube, Mike Epps, John Witherspoon, Don 'D.C.' Curry, Anna Maria Horsford, Clifton Powell | |||
27 | W | Eight Crazy Nights | Columbia Pictures | Adam Sandler, Jackie Titone, Austin Stout, Rob Schneider | |
Extreme Ops | Paramount Pictures | Devon Sawa, Bridgette Wilson-Sampras, Rupert Graves, Rufus Sewell | |||
Solaris | 20th Century Fox | Dir: Steven Soderbergh; George Clooney, Natascha McElhone, Viola Davis, Jeremy Davies, Ulrich Tukur | |||
Treasure Planet | Walt Disney Pictures | Joseph Gordon-Levitt, Brian Murray, David Hyde Pierce, Martin Short, Emma Thompson | |||
They | Dimension Films | Laura Regan, Marc Blucas, Ethan Embry, Dagmara Dominczyk, Jon Abrahams | |||
D E C E M B E R |
6 | W | Analyze That | Warner Bros. | Dir: Harold Ramis; Robert De Niro, Billy Crystal, Lisa Kudrow, Joe Viterelli, Cathy Moriarty |
Empire | Universal Studios | John Leguizamo, Peter Sarsgaard, Delilah Cotto, Denise Richards | |||
L | Adaptation | Columbia Pictures | Dir: Spike Jonze; Nicolas Cage, Meryl Streep, Chris Cooper | ||
13 | W | Drumline | 20th Century Fox | Nick Cannon, Orlando Jones, Leonard Roberts, Zoe Saldana, Jason Weaver | |
The Hot Chick | Touchstone Pictures | Rob Schneider, Rachel McAdams, Anna Faris, Matthew Lawrence, Eric Christian Olsen, Sam Doumit | |||
Maid in Manhattan | Columbia Pictures | Dir: Wayne Wang; Jennifer Lopez, Ralph Fiennes, Natasha Richardson | |||
Star Trek Nemesis | Paramount Pictures | Dir: Stuart Baird; Patrick Stewart, Jonathan Frakes, Brent Spiner, LeVar Burton, Gates McFadden | |||
L | About Schmidt | New Line Cinema | Jack Nicholson, Hope Davis, Kathy Bates | ||
18 | W | The Lord of the Rings: The Two Towers | New Line Cinema | Dir: Peter Jackson; Elijah Wood, Ian McKellen, Liv Tyler, Viggo Mortensen, Sean Astin, Cate Blanchett, John Rhys-Davies | |
20 | W | Gangs of New York | Miramax Films | Dir: Martin Scorsese; Leonardo DiCaprio, Daniel Day-Lewis, Cameron Diaz, John C. Reilly, Henry Thomas, Jim Broadbent | |
Two Weeks Notice | Warner Bros. | Dir: Marc Lawrence; Sandra Bullock, Hugh Grant | |||
The Wild Thornberrys Movie | Paramount Pictures | Lacey Chabert, Tom Kane, Tim Curry, Lynn Redgrave, Jodi Carlisle, Danielle Harris, Flea | |||
25 | W | Catch Me If You Can | DreamWorks | Dir: Steven Spielberg; Leonardo DiCaprio, Tom Hanks, Christopher Walken, Amy Adams, Martin Sheen | |
Pinocchio | Miramax Films | Dir: Roberto Benigni; Roberto Benigni, Nicoletta Braschi, Carlo Giuffrè, Fichi d'India, Kim Rossi Stuart |
In addition to the wide-release films in the above list, the following films received a limited or regional release.
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2002 : January · February · March · April · May · June · July · August · September · October · November · December |
Millennium: | 3rd millennium |
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Centuries: | 20th century – 21st century – 22nd century |
Decades: | 1970s 1980s 1990s – 2000s – 2010s 2020s 2030s |
Years: | 1999 2000 2001 – 2002 – 2003 2004 2005 |
2002 by topic: |
News by month |
Jan – Feb – Mar – Apr – May – Jun Jul – Aug – Sep – Oct – Nov – Dec |
Arts |
Architecture – Art – Comics – Film – Home video – Literature (Poetry) – Music (Country, Metal, UK) – Radio – Television – Video gaming |
Politics |
Elections – Int'l leaders – Politics – State leaders – Sovereign states |
Science and technology |
Archaeology – Aviation – Birding/Ornithology – Meteorology – Palaeontology – Rail transport – Science – Spaceflight |
Sports |
Sport – Athletics (Track and Field) – Australian Football League – Baseball – Basketball – Football (soccer) – Cricket – Ice Hockey – Motorsport – Tennis – Rugby league |
By place |
Algeria – Argentina – Australia – Belgium - Brazil – Canada – People's Republic of China – Denmark – El Salvador – Egypt – European Union – France – Georgia – Germany – Ghana – Hungary – India – Iraq – Iran – Ireland – Israel – Italy – Japan – Kenya – Lithuania – Luxembourg – Malaysia – Mexico – New Zealand – Norway – Pakistan – Palestinian territories – Philippines – Poland – Romania – Russia – Singapore – South Africa – South Korea – Spain – Sri Lanka – United Arab Emirates – United Kingdom – United States |
Other topics |
Awards – Law – Religious leaders |
Birth and death categories |
Births – Deaths |
Establishments and disestablishments categories |
Establishments – Disestablishments |
Works and introductions categories |
Works – Introductions |
Gregorian calendar | 2002 MMII |
Ab urbe condita | 2755 |
Armenian calendar | 1451 ԹՎ ՌՆԾԱ |
Assyrian calendar | 6752 |
Bahá'í calendar | 158–159 |
Bengali calendar | 1409 |
Berber calendar | 2952 |
British Regnal year | 50 Eliz. 2 – 51 Eliz. 2 |
Buddhist calendar | 2546 |
Burmese calendar | 1364 |
Byzantine calendar | 7510–7511 |
Chinese calendar | 辛巳年十一月十八日 (4638/4698-11-18) — to —
壬午年十一月廿八日(4639/4699-11-28) |
Coptic calendar | 1718–1719 |
Ethiopian calendar | 1994–1995 |
Hebrew calendar | 5762–5763 |
Hindu calendars | |
- Vikram Samvat | 2058–2059 |
- Shaka Samvat | 1924–1925 |
- Kali Yuga | 5103–5104 |
Holocene calendar | 12002 |
Iranian calendar | 1380–1381 |
Islamic calendar | 1422–1423 |
Japanese calendar | Heisei 14 (平成14年) |
Julian calendar | Gregorian minus 13 days |
Korean calendar | 4335 |
Minguo calendar | ROC 91 民國91年 |
Thai solar calendar | 2545 |
Unix time | 1009843200–1041379199 |
Wikimedia Commons has media related to: 2002 |
2002 (MMII) was a common year that started on a Tuesday. In the Gregorian calendar, it was the 2002nd year of Anno Domini, the 2nd year of the 3rd millennium and of the 21st century, and the 3rd of the 2000s decade. 2002 was a palindrome year. By coincidence, the last palindrome year (1991) was also a common year starting on Tuesday. The next time this will happen is between 5995 and 6006.
The year 2002 is designated the:
This article may be expanded with text translated from the corresponding article in the French Wikipedia. (January 2012) Don't speak French? Click here to read a machine-translated version of the French article. Click [show] on the right to review important translation instructions before translating.
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World cinema |
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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.
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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.[1] 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 a story. 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.
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.
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.
Parallels to musical counterpoint have been developed into a theory of montage, extended from the complex superimposition of images in early silent film[citation needed] 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.
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.
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[citation needed] 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.[2] Whether the ten thousand-plus feature length films a year produced by the Valley pornographic film industry should qualify for this title is the source of some debate.[citation needed] Though the expense involved in making 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.
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.
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.[3] 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.[4] 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.
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).
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 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.
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.
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:
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.
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.
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).[5] 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 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).[6] 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.
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.
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.
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,[7] and Pittsburgh's Nickelodeon, established 1905.[8] Thousands of such theaters were built or converted from existing facilities within a few years.[9] 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.[citation needed] In 1967, videocassettes of movies became available to consumers to watch in their own homes.[10] Recording technology has since 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.[11] 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).[11]
This section requires expansion with: optical disc distribution. |
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.[12]
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.
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While motion picture films have been around for more than a century, film is still a relative newcomer in the pantheon[clarification needed] of fine arts. In the 1950s, when television became widely available, industry analysts[who?] predicted the demise of local movie theaters.[citation needed] Despite competition from television's increasing technological sophistication over the 1960s and 1970s[citation needed] 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.[citation needed] 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.[citation needed]
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.[citation needed] 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.[citation needed] 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.[citation needed] 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.[citation needed] 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.[13] 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.[citation needed] Currently the super-16 format is seeing use as a capture medium, with digital scanning and post-production providing good results.[14][15] 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.[13]
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[who?] expected film to suffer as a result of the effects listed above but it has flourished, strengthening film studio expectations for the future.[citation needed]
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