Down is a 2001 horror film about a killer elevator, starring James Marshall and Naomi Watts. The film is also known as The Shaft, which is the name used for the United States DVD release. The film is a remake of the 1983 Dutch film De Lift (The Elevator), which was also directed by Maas.

Watts plays the role of pushy journalist Jennifer Evans, and Marshall is Mark, an elevator repairman and former Marine. Directed by Dick Maas, the movie was filmed in the Netherlands as well as New York and the District of Columbia.

The film premiered at the Cannes Film Festival in May 2001, but was not released on video in the United States until two years later.^[1]

Produced before the September 11, 2001, attacks, the film makes several references to the possibility of terrorists attacking New York City.

Plot summary[link]

When several people die unexpectedly in an express elevator in a New York City landmark called the Millennium Building, everyone, at first, thinks it is a technical problem. But when repairmen repeatedly cannot find any problems with the elevator, it is clear that something else is at work.

A tabloid investigative journalist (Naomi Watts) and an elevator mechanic (James Marshall) seek to get to the bottom of what's causing the deaths, as officials try to play down the incidents and the government investigates them as terrorist attacks.

The duo eventually discover that the elevators indeed have a life of their own.

Extended plot synopsis[link]

The film takes place at the Millennium building in New York City, which has 102 floors and 73 elevators. One evening, lightning strikes the building, which causes the elevators to begin acting strangely, resulting in a guard's flashlight being crushed. The next day, a group of pregnant women are held up between floors 20 and 21. The elevator overheats rapidly, causing two women to give birth and hospitalizing the rest. Reporter Jennifer Evans (Naomi Watts) is called to write a report on the incident. After an investigation by METEOR elevator company technicians Jeff (Eric Thal) and Mark Newman (James Marshall), they determine that nothing is wrong with the elevators, a large part being Jeff's inability to actually admit there is something wrong (he states throughout his scenes that the computer controlling the elevators has absolutely no defects).

A short time later, a blind man and his guide dog disappear in the building. The two guards from the beginning of the film discover the dog's corpse hanging from its collar on a shaft support. The discovering guard's head is caught between the elevator doors. He is decapitated a short while later, his partner too horrified to help him. Once again, the METEOR executives find nothing wrong with the elevators. Evans interviews Newman, who sarcastically states "Nine people out of ten make it out of an elevator alive." Evans places this in her report, causing a large controversy over his statement by his boss, Mitchell (Ron Perlman) and the police. During the same day, a roller skater is sucked into an elevator in the parking garage and shot from the 86th floor of the building to his death. The roller skater's death is explained to media as suicide.

Evans visits Newman and shows him a tape of the roller skater's death. She points out the time it normally takes for the elevator to go up 87 floors would take about 40 seconds to a minute. However, the elevator ascended the floors in less than two seconds, thus noting that there is definitely something wrong. When they try to show the tape to Jeff, he refuses to watch it and leaves abruptly. Instead, they go to Evans' office and look up a man named Gunther Steinberg (Michael Ironside), who had been experimenting with organic reproducing computer chips using dolphin brains. However, the project had gone disastrously wrong and Steinberg was fired. Later the next morning Milligan (Edward Hermann), who remains suspicious of the elevators throughout the film, discovers Jeff's corpse in an elevator shaft. When Jennifer and Mark arrive, they are shocked to hear that the police have concocted a story that has Jeff being a terrorist and being behind the incidents and assure the public that the threat is over. Later during the day, an elevator cab flies to top floor at such a speed that the floor flies off and all the people in it are killed. This event reaches the President and is seen as an act of terrorism.

A terrorism unit is assembled at the building to get any further terrorists out of the building. Meanwhile, Jennifer and Mark discover a recent suicide could be linked to the incidents, as his extremely superstitious widow believes his soul has returned to punish others. Jennifer and Mark enter the building to discover and stop the threat once and for all. During the entry, Jennifer is taken into custody posing as a METEOR executive. During her first attempt to prove this fraud, she receives a phone call from a friend to explains that while Steinberg's time working on the "fucking chips" as they are called in the movie, has been revoked, Steinberg continued to work on the project except not with dolphin brains. Eventually, Mitchell abandons Steinberg for fear of his own reputation being ruined. Mark manages to get into the Millennium Building and discovers a large bio-chip in the form of a brain in an elevator shaft. It is assumed that this brain is alive and controlling the elevators. He attempts to destroy using a screwdriver, but this attempt fails when it sends a flaming elevator down to kill him. Mark barely escapes while the elevator kills a SWAT officer who was barely out of the elevator shaft before his was sliced in half from his waist down with the upper half of his body sliding across the floor. Marshall gets a hold of a stinger missile launcher and is about to destroy the organ when Steinberg intervenes, threatening him. Jennifer appears, having escaped custody and frees Marshall. As Mark tries to destroy the organ a third time, the police enter, giving Steinberg the opportunity to hold Jennifer hostage. Jennifer manages to escape thanks to Steinberg being unable to recognize one of his superiors. Steinberg is grabbed by the elevator shaft cables and pulled in, along with Mark. At the last second, Jennifer kicks the stinger launcher to Mark, who proceeds to destroy the organ. Steinberg's mutilated corpse falls seconds later.

Some time later, Mark and Jennifer leave a hospital where they find themselves trapped in an elevator. However, it proves to be a ruse for Mark to sleep with Jennifer. The film then cuts out to Aerosmith's song "Love in an Elevator".

The incidents[link]

Reception[link]

Currently, there are not enough reviews on Rotten Tomatoes to equal a score. Out of four reviews, three are considered "rotten". If there would have been a score, however, it would have a 25% "Rotten" rating.^[2] Common criticisms include that the film was not gripping enough, having a weak storyline, having generally unrealistic deaths, weak dialogue and unconvincing special effects.

The film was not well received in the Netherlands and was seen as comparing poorly to De Lift, considered to be one of the strongest Dutch horror films of all time, whilst Down was regarded as a typical American B-film.^[3]

References[link]

External links[link]

• Down at the Internet Movie Database

Look up UP or down in Wiktionary, the free dictionary.

Down may refer to:

• Relative direction, where down is the direction towards the centre of gravity of a celestial object.
• Railroad directions, where down and up have locally significant meanings
• Down feather, a soft bird feather frequently used in manufacture of bedding.
• Downland, a type of hill
• Down syndrome, a genetic disorder
• Down (American football), in American/Canadian football, a period of time where one play takes place
• County Down, a county within Northern Ireland
  • Down District Council
  • Down (Northern Ireland Parliament constituency)
  • Down (UK Parliament constituency)
• Down (game theory), a standard position in mathematical game theory
• Down (film), an English remake of the film De Lift, about an express elevator that develops a mind of its own
• Down (comics), a comic book published by Top Cow Productions
• Down (novel), a Bernice Summerfield novel by Lawrence Miles
• Down payment, a term used in the context of the purchase of items
• Down quark, an elementary constituent of matter
• John Langdon Down
• A world in Larry Niven's Known Space stories.
• "Down" (Breaking Bad), an episode from season two of Breaking Bad

Technology[link]

• Downtime
• Uploading and downloading

Music[link]

• Down (band), an American southern heavy metal supergroup

Albums

• Down (Sentenced album)
• Down (The Jesus Lizard album)

Songs

• "Down" (Jay Sean song)
• "Down" (Blink-182 song)
• "Down" (311 song)
• "Down" (R.K.M & Ken-Y song)
• "Down" (Pearl Jam song)
• "Down" (Juelz Santana song)
• "Down" (Stone Temple Pilots song)
• "Down", a single by Modern Day Zero
• "Down", a song by Motograter off their self-titled album
• "Down", a song by Gravity Kills from their self-titled debut album.
• "Down", a song by Kutless from Kutless
• "Down", a song by Pitchshifter from PSI
• "Down", a song by The Prom Kings on their self-titled album.
• "Down", a song by Noise Therapy on their album "Myton Lowrider"

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

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. Google's machine translation is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into English Wikipedia. Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article. After translating, {{Translated|fr|Cinéma}} must be added to the talk page to ensure copyright compliance. For more guidance, see Wikipedia:Translation.

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This 16 mm spring-wound Bolex "H16" Reflex camera is a popular entry level camera used in film schools.

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

Films are cultural artifacts created by specific cultures, which reflect those cultures, and, in turn, affect them. Film is considered to be an important art form, a source of popular entertainment and a powerful method for educating – or indoctrinating – citizens. The visual elements of cinema give motion pictures a universal power of communication. Some films have become popular worldwide attractions by using dubbing or subtitles that translate the dialogue into the language of the viewer.

Films are made up of a series of individual images called frames. When these images are shown rapidly in succession, a viewer has the illusion that motion is occurring. The viewer cannot see the flickering between frames due to an effect known as persistence of vision, whereby the eye retains a visual image for a fraction of a second after the source has been removed. Viewers perceive motion due to a psychological effect called beta movement.

The origin of the name "film" comes from the fact that photographic film (also called film stock) has historically been the primary medium for recording and displaying motion pictures. Many other terms exist for an individual motion picture, including picture, picture show, moving picture, photo-play and flick. A common name for film in the United States is movie, while in Europe the term film is preferred. Additional terms for the field in general include the big screen, the silver screen, the cinema and the movies.

History[link]

A clip from the Charlie Chaplin silent film The Bond (1918)

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.

A frame from Roundhay Garden Scene, the world's earliest film produced using a motion picture camera, by Louis Le Prince, 1888

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.

A shot from Georges Méliès Le Voyage dans la Lune (A Trip to the Moon) (1902), an early narrative film.

The rise of European cinema was interrupted by the outbreak of World War I when the film industry in United States flourished with the rise of Hollywood, typified most prominently by the great innovative work of D. W. Griffith in The Birth of a Nation (1914) and Intolerance (1916). However in the 1920s, European filmmakers such as Sergei Eisenstein, F. W. Murnau, and Fritz Lang, in many ways inspired by the meteoric war-time progress of film through Griffith, along with the contributions of Charles Chaplin, Buster Keaton and others, quickly caught up with American film-making and continued to further advance the medium. In the 1920s, new technology allowed filmmakers to attach to each film a soundtrack of speech, music and sound effects synchronized with the action on the screen. These sound films were initially distinguished by calling them "talking pictures", or talkies.

The next major step in the development of cinema was the introduction of so-called "natural color", which meant color that was photographically recorded from nature rather than being added to black-and-white prints by hand-coloring, stencil-coloring or other arbitrary procedures, although the earliest processes typically yielded colors which were far from "natural" in appearance. While the addition of sound quickly eclipsed silent film and theater musicians, color replaced black-and-white much more gradually. The pivotal innovation was the introduction of the three-strip version of the Technicolor process, which was first used for short subjects and for isolated sequences in a few feature films released in 1934, then for an entire feature film, Becky Sharp, in 1935. The expense of the process was daunting, but continued favorable public response and enhanced box-office receipts increasingly justified the added cost. The number of films made in color slowly increased year after year.

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

Since the decline of the studio system in the 1960s, the succeeding decades saw changes in the production and style of film. Various New Wave movements (including the French New Wave, Indian New Wave, Japanese New Wave and New Hollywood) and the rise of film school educated independent filmmakers were all part of the changes the medium experienced in the latter half of the 20th century. Digital technology has been the driving force in change throughout the 1990s and into the 2000s. 3D technology increased in usage and has become more popular since the early 2010s.

Theory[link]

Film theory seeks to develop concise and systematic concepts that apply to the study of film as art. It was started by Ricciotto Canudo's The Birth of the Sixth Art. Formalist film theory, led by Rudolf Arnheim, Béla Balázs, and Siegfried Kracauer, emphasized how film differed from reality, and thus could be considered a valid fine art. André Bazin reacted against this theory by arguing that film's artistic essence lay in its ability to mechanically reproduce reality not in its differences from reality, and this gave rise to realist theory. More recent analysis spurred by Jacques Lacan's psychoanalysis and Ferdinand de Saussure's semiotics among other things has given rise to psychoanalytical film theory, structuralist film theory, feminist film theory and others. On the other hand, critics from the analytical philosophy tradition, influenced by Wittgenstein, try to clarify misconceptions used in theoretical studies and produce analysis of a film's vocabulary and its link to a form of life.

Language[link]

Film is considered to have its own language. James Monaco wrote a classic text on film theory titled "How to Read a Film". Director Ingmar Bergman famously said, "[Andrei] Tarkovsky for me is the greatest [director], the one who invented a new language, true to the nature of film, as it captures life as a reflection, life as a dream." Examples of the language are a sequence of back and forth images of one actor's left profile speaking, followed by another actor's right profile speaking, then a repetition of this, which is a language understood by the audience to indicate a conversation. Another example is zooming in on the forehead of an actor with an expression of silent reflection, then changing to a scene of a younger actor who vaguely resembles the first actor, indicating the first actor is having a memory of their own past.

Montage[link]

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.

Criticism[link]

Film criticism is the analysis and evaluation of films. In general, these works can be divided into two categories: academic criticism by film scholars and journalistic film criticism that appears regularly in newspapers and other media.

Film critics working for newspapers, magazines, and broadcast media mainly review new releases. Normally they only see any given film once and have only a day or two to formulate opinions. Despite this, critics have an important impact on films, especially those of certain genres. Mass marketed action, horror, and comedy films tend not to be greatly affected by a critic's overall judgment of a film. The plot summary and description of a film that makes up the majority of any film review can still have an important impact on whether people decide to see a film. For prestige films such as most dramas, the influence of reviews is extremely important. Poor reviews will often doom a film to obscurity and financial loss.

The impact of a reviewer on a given film's box office performance is a matter of debate. Some claim that movie marketing is now so intense and well financed that reviewers cannot make an impact against it. However, the cataclysmic failure of some heavily promoted movies which were harshly reviewed, as well as the unexpected success of critically praised independent movies indicates that extreme critical reactions can have considerable influence. Others note that positive film reviews have been shown to spark interest in little-known films. Conversely, there have been several films in which film companies have so little confidence that they refuse to give reviewers an advanced viewing to avoid widespread panning of the film. However, this usually backfires as reviewers are wise to the tactic and warn the public that the film may not be worth seeing and the films often do poorly as a result.

It is argued that journalist film critics should only be known as film reviewers, and true film critics are those who take a more academic approach to films. This line of work is more often known as film theory or film studies. These film critics attempt to come to understand how film and filming techniques work, and what effect they have on people. Rather than having their works published in newspapers or appear on television, their articles are published in scholarly journals, or sometimes in up-market magazines. They also tend to be affiliated with colleges or universities.

Industry[link]

Cate Blanchett at the Berlin International Film Festival. Around 20,000 professionals from over 130 countries attend the event in Berlin.

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.

Associated fields[link]

Derivative academic Fields of study may both interact with and develop independently of filmmaking, as in film theory and analysis. Fields of academic study have been created that are derivative or dependent on the existence of film, such as film criticism, film history, divisions of film propaganda in authoritarian governments, or psychological on subliminal effects of a flashing soda can during a screening. These fields may further create derivative fields, such as a movie review section in a newspaper or a television guide. Sub-industries can spin off from film, such as popcorn makers, and toys. Sub- industries of pre-existing industries may deal specifically with film, such as product placement in advertising.

Terminology used[link]

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.

Preview[link]

A preview performance refers to a showing of a movie to a select audience, usually for the purposes of corporate promotions, before the public film premiere itself. Previews are sometimes used to judge audience reaction, which if unexpectedly negative, may result in recutting or even refilming certain sections (Audience response).

Trailer[link]

Trailers or previews are film advertisements for films that will be exhibited in the future at a cinema, on whose screen they are shown. The term "trailer" comes from their having originally been shown at the end of a film programme. That practice did not last long, because patrons tended to leave the theater after the films ended, but the name has stuck. Trailers are now shown before the film (or the A movie in a double feature program) begins.

Film, or other art form?[link]

Film may be combined with performance art and still be considered or referred to as a "film", for instance, when there is a live musical accompaniment to a silent film. Another example is audience participation films, as at a midnight movies screening of The Rocky Horror Picture Show, where the audience dresses up in costume from the film and loudly does a karaoke-like reenactment along with the film. Performance art where film is incorporated as a component is usually not called film, but a film, which could stand-alone but is accompanied by a performance may still be referred to as a film.

The act of making a film can, in and of itself, be considered a work of art, on a different level from the film itself, as in the films of Werner Herzog.

Similarly, the playing of a film can be considered to fall within the realm of political protest art, as in the subtleties within the films of Tarkovsky. A "road movie" can refer to a film put together from footage from a long road trip or vacation.

Education and propaganda[link]

Film is used for education and propaganda. When the purpose is primarily educational, a film is called an "educational film". Examples are recordings of lectures and experiments, or more marginally, a film based on a classic novel.

Film may be propaganda, in whole or in part, such as the films made by Leni Riefenstahl in Nazi Germany, US war film trailers during World War II, or artistic films made under Stalin by Eisenstein. They may also be works of political protest, as in the films of Wajda, or more subtly, the films of Andrei Tarkovsky.

The same film may be considered educational by some, and propaganda by others, such as some of the films of Michael Moore.

Production[link]

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:

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

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

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

Crew[link]

A film crew is a group of people hired by a film company, employed during the "production" or "photography" phase, for the purpose of producing a film or motion picture. Crew are distinguished from cast, the actors who appear in front of the camera or provide voices for characters in the film. The crew interacts with but is also distinct from the production staff, consisting of producers, managers, company representatives, their assistants, and those whose primary responsibility falls in pre-production or post-production phases, such as writers and editors. Communication between production and crew generally passes through the director and his/her staff of assistants. Medium-to-large crews are generally divided into departments with well defined hierarchies and standards for interaction and cooperation between the departments. Other than acting, the crew handles everything in the photography phase: props and costumes, shooting, sound, electrics (i.e., lights), sets, and production special effects. Caterers (known in the film industry as "craft services") are usually not considered part of the crew.

Technology[link]

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[link]

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.

The Lumière Brothers

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.

Open content film[link]

An open content film is much like an independent film, but it is produced through open collaborations; its source material is available under a license which is permissive enough to allow other parties to create fan fiction or derivative works, than a traditional copyright. Like independent filmmaking, open source filmmaking takes place outside of Hollywood, or other major studio systems.

Fan film[link]

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

Distribution[link]

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[link]

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.

Future state[link]

This unreferenced section requires citations to ensure verifiability.

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]}

See also[link]

• Genre
• Fiction film basic genre
• Documentary basic genre
• Docufiction hybrid genre

• Lists

Film portal

• List of film awards
• List of film festivals
• List of film journals and magazines
• List of film topics
• List of video-related topics
• List of years in film
• Lists of films

Related topics

• Cinematic techniques
• Digital cinema
• Lost film
• Web film

Notes[link]

References[link]

External links[link]

Find more about Film on Wikipedia's sister projects:
	Definitions and translations from Wiktionary
	Images and media from Commons
	Learning resources from Wikiversity
	News stories from Wikinews
	Quotations from Wikiquote
	Source texts from Wikisource
	Textbooks from Wikibooks

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• Allmovie – Information on films: actors, directors, biographies, reviews, cast and production credits, box office sales, and other movie data.
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Kirsten Dunst
Dunst at the 2010 Tribeca Film Festival in NYC
Born	Kirsten Caroline Dunst (1982-04-30) April 30, 1982 (age 30) Point Pleasant, New Jersey, United States
Nationality	Dual American/German
Occupation	Actress, singer, model
Years active	1989–present

Kirsten Caroline Dunst (born April 30, 1982) is an American-German actress, singer and model. She made her film debut in Oedipus Wrecks, a short film directed by Woody Allen for the anthology New York Stories (1989). At the age of 12, Dunst gained widespread recognition playing the role of vampire Claudia in Interview with the Vampire (1994), a performance for which she was nominated for a Golden Globe Award for Best Supporting Actress. The same year she appeared in Little Women, to further acclaim.

Dunst achieved international fame as a result of her portrayal of Mary Jane Watson in the Spider-Man trilogy (2002–07). Since then her films have included the romantic comedy Wimbledon (2004), the romantic science fiction Eternal Sunshine of the Spotless Mind (2004) and Cameron Crowe's tragicomedy Elizabethtown (2005). She played the title role in Sofia Coppola's Marie Antoinette (2006) and starred in the comedy How to Lose Friends & Alienate People (2008). She won the Best Actress Award at the Cannes Film Festival in 2011 for her performance in Lars von Trier's Melancholia.

In 2001, Dunst made her singing debut in the film Get Over It, in which she performed two songs. She also sang the jazz song "After You've Gone" for the end credits of the film The Cat's Meow (2001).

Early life[link]

Dunst was born in Point Pleasant, New Jersey, to Inez (née Rupprecht) and Klaus Dunst.^[1] She has one younger brother.^[2] Her father worked as a medical services executive, and her mother was an artist and one-time gallery owner.^[3] Dunst's father is German, originally from Hamburg, and Dunst's mother, who was born in New Jersey, is of German and Swedish descent^[4][5] (Dunst obtained German citizenship in 2011 and now holds dual citizenship with the United States and Germany).^[6][7]

Until the age of six, Dunst lived in Brick Township, New Jersey, where she attended Ranney School.^[8] In 1991, she moved with her mother and younger brother to Los Angeles, California, where she attended Laurel Hall Day School. In 1995, her mother filed for divorce.^[3] The following year Dunst began attending Notre Dame, a private Catholic high school in Los Angeles.

After graduating from Notre Dame, Dunst continued the acting career that she had begun at the age of eight.^[2] As a teenager, she found it difficult to deal with her rising fame, and for a period she blamed her mother for pushing her into acting as a child. However, she later expressed that her mother "always had the best intentions".^[9] When asked if she had any regrets about the way she spent her childhood, Dunst said: "Well, it's not a natural way to grow up, but it's the way I grew up and I wouldn't change it. I have my stuff to work out ... I don't think anybody can sit around and say: 'My life is more screwed up than yours.' Everybody has their issues."^[7]

Career[link]

Early work[link]

Dunst began her career when she was three years old as a child fashion model in television commercials.^[3][10] She was signed with Ford Models and Elite Model Management.^[3] At the age of eight years old she made her film debut in a minor role in Woody Allen's Oedipus Wrecks, a short film that was released as one-third of the anthology New York Stories (1989).^[3] Soon after, she landed a small part in The Bonfire of the Vanities (1990), as Tom Hanks's daughter.^[3] In 1993, Dunst played Hedril in "Dark Page", the seventh episode of the seventh season of Star Trek: The Next Generation.^[11]

Critical success[link]

The breakthrough role in Dunst's career came in Interview with the Vampire, a 1994 film based on Anne Rice's novel, in which she played the child vampire Claudia, a surrogate daughter to Tom Cruise and Brad Pitt's characters in the film.^[12] The film received ambivalent reviews,^[13] but many film critics complimented Dunst's performance. Roger Ebert commented that Dunst's creation of the child vampire Claudia was one of the "creepier" aspects of the film, and mentioned her ability to convey the impression of great age inside apparent youth.^[14] Todd McCarthy in Variety noted that Dunst was "just right" for the family.^[15] The film featured a scene in which Dunst received her first kiss from Brad Pitt, who was 18 years her senior.^[16] In an interview with Interview magazine, she revealed, while questioned about her kissing scene with Pitt, that kissing him had made her feel uncomfortable: "I thought it was gross, that Brad had cooties. I mean, I was 10."^[17] Her performance earned her the MTV Movie Award for Best Breakthrough Performance, the Saturn Award for Best Young Actress, and her first Golden Globe Award nomination.^[2][18][19]

Later in 1994, Dunst appeared in the adaptation of the drama Little Women opposite Winona Ryder and Claire Danes.^[3] The film received favorable reviews.^[20] Critic Janet Maslin of The New York Times wrote that the film was the greatest adaptation of the novel and remarked on Dunst's performance, "The perfect contrast to take-charge Jo comes from Kirsten Dunst's scene-stealing Amy, whose vanity and twinkling mischief make so much more sense coming from an 11-year-old vixen than they did from grown-up Joan Bennett in 1933. Ms. Dunst, also scarily effective as the baby bloodsucker of Interview With the Vampire, is a little vamp with a big future."^[21]

In 1995, she appeared in the fantasy movie Jumanji, loosely based on Chris Van Allsburg's 1981 book of the same name.^[22] The story is about a supernatural and ominous board game which makes animals and other jungle hazards appear upon each roll of the dice.^[22] She was part of an ensemble cast that included Robin Williams, Bonnie Hunt, and David Alan Grier. The movie grossed $262 million worldwide.^[23] That year, and again in 2002, she was named one of People magazine's 50 Most Beautiful People.^[3] In 1996, Dunst had a recurring role in the third season of NBC's medical drama ER. She portrayed a child prostitute, Charlie Chiemingo, taken under the guidance of Dr. Doug Ross, played by George Clooney.^[2] In 1997, she was the voice of Young Anastasia in the animated musical film Anastasia.^[24] Also in 1997, Dunst appeared in the political satire Wag the Dog, opposite Robert De Niro and Dustin Hoffman.^[25] The following year she was the voice of the title character, Kiki, a 13-year-old apprentice witch who leaves her home village to spend a year on her own, in the anime movie Kiki's Delivery Service (1998).^[26]

Dunst was offered the role of Angela in the 1999 drama film American Beauty, but turned it down because she did not want to appear in the film's suggestive sexual scenes or kiss co-star Kevin Spacey.^[17] She later explained: "When I read it, I was 15 and I don't think I was mature enough to understand the script's material."^[17] That same year, she appeared in the comedy Dick, alongside Michelle Williams. The film is a parody retelling the events of the Watergate scandal which lead to the resignation of U.S. president Richard Nixon.^[27]

In Sofia Coppola's independent film The Virgin Suicides (1999), Dunst played the role of troubled adolescent Lux Lisbon.^[28] The film was screened as a special presentation at the 43rd San Francisco International Film Festival in 2000.^[29] The movie received generally favorable reviews,^[30] and San Francisco Chronicle critic Peter Stack noted in his review that Dunst "beautifully balances innocence and wantonness."^[31]

In 2000, she played Torrance Shipman, the captain of a cheerleading squad in Bring It On.^[32] The film generated mostly critical reviews,^[33] with Charles Taylor of Salon.com writing that the film had failed to provide Dunst with as good a role as she had either in Dick or in The Virgin Suicides.^[34] However, Jessica Winter of The Village Voice complimented Dunst, stating that her performance was "as sprightly and knowingly daft as her turn in Dick. She provides the only major element of Bring It On that plays as tweaking parody rather than slick, strident, body-slam churlishness."^[35] The movie grossed $90 million worldwide.^[23]

The following year, Dunst had the lead in the teen comedy Get Over It (2001).^[36] She later explained that one of the reasons for accepting the role was that it gave her the opportunity to sing.^[37] Also in 2001, she depicted the late American actress Marion Davies in The Cat's Meow, directed by Peter Bogdanovich. Derek Elley of Variety described the film as "playful and sporty," saying that this was Dunst's best performance to date: "Believable as both a spoiled ingenue and a lover to two very different men, Dunst endows a potentially lightweight character with considerable depth and sympathy."^[38] In the Esquire review, Tom Carson called her performance "terrific."^[39] For her work, she won the Best Actress Silver Ombú category award at the 2002 Mar del Plata Film Festival.^[40]

[edit] Spider-Man and after

Dunst at the Cannes film festival premiere of Marie Antoinette.

In the 2002 superhero film Spider-Man, the most successful film of her career to date, Dunst played Mary Jane Watson, the best friend and love interest of the title character, played by Tobey Maguire. The film was directed by Sam Raimi. Owen Gleiberman of Entertainment Weekly remarked on Dunst's ability to "lend even the smallest line a tickle of flirtatious music."^[41] In the Los Angeles Times review, critic Kenneth Turan noted that Dunst and Maguire made a real connection on screen, concluding that their relationship involved audiences to an extent rarely seen in films.^[42] Spider-Man was a commercial and critical success.^[43] The movie grossed $114 million during its opening weekend in North America and went on to earn $822 million worldwide.^[23]

Following the success of Spider-Man, Dunst appeared in the independent drama Levity (2003), where she had a supporting role.^[44] That same year she starred in Mona Lisa Smile (2003). She was part of an ensemble cast that included Julia Roberts, Maggie Gyllenhaal, and Julia Stiles. The film generated mostly negative reviews,^[45] with Manohla Dargis of the Los Angeles Times describing it as "smug and reductive."^[46] She next appeared in the supporting role of Mary Svevo in Eternal Sunshine of the Spotless Mind (2004), alongside Jim Carrey, Kate Winslet, and Tom Wilkinson.^[47] The latter film received very positive reviews,^[48] with Entertainment Weekly describing Dunst's subplot as "nifty and clever."^[49] The movie grossed $72 million worldwide.^[23]

The success of the first Spider-Man film led Dunst to reprise the role in the 2004 sequel, Spider-Man 2.^[50] The movie was well received by critics^[51] and a financial success, setting a new opening weekend box office record for North America.^[52] With revenue of $783 million worldwide, it was the second highest grossing film in 2004.^[23] Also in 2004, she portrayed a rising tennis player in the Wimbledon Championships opposite Paul Bettany, who played a fading former tennis star in the romantic comedy Wimbledon. Reception for the movie was mixed,^[53] but many critics enjoyed Dunst's performance.^[54][55] Claudia Puig of USA Today reported that the chemistry between Dunst and Bettany was potent, with Dunst doing a fine job as a sassy and self-assured player.^[56]

In 2005, she appeared as flight attendant Claire Colburn alongside Orlando Bloom, in Elizabethtown, a movie written and directed by Cameron Crowe. The film premiered at the 2005 Toronto Film Festival. Dunst revealed that working with Crowe was enjoyable, but more demanding than she had expected.^[7] The movie garnered mixed reviews,^[57] with the Chicago Tribune rating it one out of four stars and describing Dunst's portrayal of a flight attendant as "cloying."^[58] It was a box office disappointment.^[59]

Dunst's next film role was the title character in the 2006 biographical film Marie Antoinette. Adapted from Antonia Fraser's book Marie Antoinette: The Journey, the film was Dunst's second with director Sofia Coppola.^[60][61] The movie was screened at a special presentation at the 2006 Cannes Film Festival,^[62] and was reviewed favourably.^[63] International revenues were $45 million out of $60 million overall.^[64]

Dunst with Brian Geraghty at the 2010 premiere of Bastard.

In 2007 she again played Mary Jane Watson, in Spider-Man 3.^[65] In contrast to the previous two films' positive reviews,^[43][51] Spider-Man 3 was met with a mixed reception by critics.^[66] Nonetheless, with a total worldwide gross of $891 million, it stands as the most commercially successful film in the series and Dunst's highest grossing film to the end of 2008.^[23] Having initially signed on for three Spider-Man films, she revealed that she would do a fourth, but only if Raimi and Maguire also returned.^[67] In January 2010 it was announced that the Spider-Man franchise would be restarted, thus dropping Dunst, Maguire, and Raimi from the film series.^[68][69]

In 2008, Dunst starred alongside Simon Pegg in How to Lose Friends and Alienate People,^[70] an adaptation of the memoir of the same name by former Vanity Fair contributing editor Toby Young.^[71] After she signed on to the film, she revealed that she had joined the project because Pegg was scheduled to appear in it.^[72]

Since 2010, Dunst's work has included directing the short film Bastard which premiered at the Tribeca Film Festival in 2010,^[73] and was later featured at the 2010 Cannes Film Festival.^[74] Her next role was in a leading role opposite Ryan Gosling in the romantic drama All Good Things (2010) in which she portrays a woman from a run-down neighborhood who goes missing.^[75] The feature received reasonable reviews,^[76] and earned $640 thousand worldwide.^[23] Dunst stars in Lars von Trier's science-fiction film Melancholia as a depressed woman at the end of the world. The film, which also stars Charlotte Gainsbourg, Kiefer Sutherland and Charlotte Rampling premiered at the 2011 Cannes Film Festival. Dunst won the Best Actress Award award for her performance.^[77][78]

Dunst has signed to appear in Sweet Relief as peace activist Marla Ruzicka, a U.S. relief worker killed by a suicide bomb in Baghdad.^[79][80] She has expressed interest in playing the role of Blondie frontwoman Debbie Harry in Michel Gondry's upcoming biographical film about the band.^[81][82] Dunst is due to appear in Juan Diego Solanas' science fiction-romance film Upside Down co-starring Jim Sturgess.^[83] Dunst has also recently filmed the short film The Second Bakery Attack with Brian Geraghty.^[84]

Reports have also stated that she will join Kristen Stewart, Sam Riley, and Garrett Hedlund in the upcoming feature, On the Road.^[85] She will make a cameo appearance in the upcoming short feature Fight for Your Right Revisited. It premiered at the 2011 Sundance Film Festival.^[86] As of September 2011, Dunst finished filming the independent comedy, Bachelorette, produced by Will Ferrell and Adam McKay.^[87][88] Reports have stated that she will join Clive Owen and Orlando Bloom in the international thriller titled 'Cities'. Filming will begin in Spring of 2012.^[89] In January 2012, Dunst will also star alongside Mark Ruffalo and Billy Crudup in the drama film, Red Light Winter.^[90]

Music[link]

Dunst made her singing debut in the 2001 film Get Over It, performing two songs written by Marc Shaiman.^[91] She also lent her voice to the end credits of The Cat's Meow, singing Henry Creamer and Turner Layton's jazz standard "After You've Gone."^[67][92] In Spider-Man 3, she sings two songs as part of her role as Mary Jane Watson, one during a Broadway performance, and one as a singing waitress in a jazz club.^[67][93] Dunst revealed that she recorded the songs earlier and later lip-synced to it when filming began.^[67] She also appeared in the music videos for Savage Garden's "I Knew I Loved You,"^[94] and R.E.M.'s "We All Go Back to Where We Belong"^[95] and she sang two tracks—"This Old Machine" and "Summer Day"—on Jason Schwartzman's 2007 solo album Nighttiming.^[96] In an interview with The Advertiser, Dunst explained that she has no plans to follow the steps of other actors who release albums, saying: "Definitely not. No way. It worked when Barbra Streisand was doing it, but now it's a little cheesy, I think. It works better when singers are in movies."^[9]

Dunst starred as the magical princess Majokko in the Takashi Murakami and McG directed short Akihabara Majokko Princess singing a cover of "Turning Japanese". This was shown at the "Pop Life" exhibition in London's Tate Modern museum. It shows Dunst prancing around Akihabara, a crowded shopping district in Tokyo.^[97][98] The exhibition was held from October 1, 2009 to January 17, 2010 in London.

Personal life[link]

Dunst has reportedly been involved in short-term relationships with actor Jake Gyllenhaal, and musician Johnny Borrell of Razorlight.^{[99][100][101]}

Dunst was treated for depression in early 2008 at the Cirque Lodge treatment center in Utah.^{[102][99][102]} She explained that she had been feeling low in the six months before her admission.^[102] In late March she checked out of the treatment center and began filming All Good Things. In May she went public with this information in order to highlight the struggle faced by so many other successful women and to dispel false rumors that had been very painful for her friends and family.^[103][104] She has also gone public detailing her "sedate lifestyle" and the fact that she has a single apartment in New York with one bedroom.^[105] She is Lutheran.^[106]

Citizenship[link]

She gained German citizenship in 2011 and now holds dual citizenship with Germany and the U.S.^{[107][108][109][110][111]}

Politics[link]

Dunst supported Democratic candidate John Kerry in the 2004 U.S. presidential election.^[112] Four years later, she supported Democrat Barack Obama in the 2008 presidential election.^[10][113] Dunst revealed that she supported Obama "from the beginning" of the presidential campaign.^[114] In support of this, she directed and narrated a documentary entitled Why Tuesday, explaining the United States tradition of voting on Tuesdays.^[114][115] Dunst explained that Tuesday is "not a holiday, and [the United States is] one of the lowest democratic countries in voter turnout."^[114] She felt it important to "influence people in a positive way" to vote on November 4.^[115]

Charity work[link]

Her charity work includes participation with the Elizabeth Glaser Pediatric AIDS Foundation, in which she helped design and promote a necklace, for which all proceeds from sales went to the Glaser foundation.^[116] She also has helped with breast cancer awareness; in September 2008 she participated in the Stand Up to Cancer telethon, to help raise funds to accelerate cancer research.^[117][118] On December 5, 2009, she participated in the Teletón in Mexico, to help raise funds to treat cancer and children rehabilitation.^[119]

Filmography[link]

References[link]