Shane is a 1953 American Western film from Paramount.^[2][3] It was produced and directed by George Stevens from a screenplay by A.B. Guthrie Jr., based on the 1949 novel of the same name by Jack Schaefer. Its Oscar-winning cinematography was by Loyal Griggs. The film stars Alan Ladd, Jean Arthur (in her last film after a thirty-year career) and Van Heflin, and features Brandon deWilde, Elisha Cook Jr., Jack Palance and Ben Johnson.

Shane was listed #45 in the 2007 edition of AFI's 100 Years…100 Movies list and #3 on AFI's 10 Top 10 in the category Western.

Plot[link]

Alan Ladd and Jean Arthur

A stranger, wearing buckskin and a six shooter, calling himself Shane (Alan Ladd), rides into an isolated valley in the sparsely settled territory of Wyoming. Whatever his past, he's obviously skilled as a gunslinger, and soon finds himself drawn into a conflict between homesteader Joe Starrett (Van Heflin) and ruthless cattle baron Rufus Ryker (Emile Meyer), who wants to force Starrett and the others off the land.

Shane stays for supper and the night at the invitation of Joe's wife, Marian (Jean Arthur), and starts working as a farmhand. Young Joey (Brandon DeWilde) is drawn to him and the gun, and wants to learn how to shoot. Shane tries to teach him and his mother that a gun is a tool like any other, except it's designed to shoot people. Whether it's used for good or not depends on the person using it.

There is an obvious attraction, and possible history, between Shane and Marian. She tells Shane that they would be better off if there weren't any guns in the valley, including his. She is emphatic that guns are not going to be a part of her son's life.

When Shane goes into town with Starrett and the rest of the homesteaders, he gets into a fistfight with Ryker's men after being ridiculed for backing down before. With Joe's help, they win, and the shopkeeper orders them out. Ryker declares that the next time Shane or Joe go to town the "air will be filled with gunsmoke."

As tensions mount, Ryker hires Jack Wilson (Jack Palance), an unscrupulous, psychopathic gunslinger, who laughs at the thought of murder. Wilson goads ex-Confederate Frank 'Stonewall' Torrey (Elisha Cook, Jr.), a hot-tempered Alabama homesteader, into a fight, and shoots him down in the street.

After the funeral, many plan to leave. But a fire set by Ryker's men spurs them into pulling together to put it out, rather than driving them out.

Ryker decides to have Wilson kill Starrett in an ambush at the saloon, under the pretense of negotiating. One of Ryker's men loses his stomach for this, and warns Shane that Starrett's "up against a stacked deck."

Joe is resolved to go anyway. He knows that Shane will look after Marian and Joey if he doesn't survive. But Shane tells Joe he's no match for Wilson, although he might be a match for Ryker. They fight and Shane has to knock him unconscious. Joey yells at Shane for pistol whipping his father with the butt of his gun.

Marian begs Shane not to go and asks if he is doing it for her. He admits that he is, and for Joey, and all the decent people who want a chance to live and grow up there.

In town, Shane walks into the saloon. Shane tells Ryker that they're both relics of the Old West, but Ryker hasn't realized it yet. Wilson draws, but is shot and keeps reflexively shooting, even after he's dead. Ryker pulls a hidden gun and Shane returns fire. He's turned to leave when Ryker's brother fires a Winchester rifle from the balcony overhead. Joey, who ran after Shane, calls out and Shane fires back.

Shane walks out of the saloon, where Joey is waiting for him. He says that he has to move on and tells him to take care of his family. Shane also says to tell Joey's mother that there "aren't any more guns in the valley" anymore.

Shane's blood runs onto Joey's hands when he reaches up to him. Joey's worried, but Shane tells him that's fine. Wounded, Shane sits up, with his arm hanging uselessly at his side as he rides past the grave markers on Cemetery Hill, and out of town, into the sunrise, over the mountains.

The film does not explicitly state whether Shane survives the wound he received in the shootout. This has led to sometimes heated discussions among fans of the film, as depicted in the 1998 film The Negotiator.

Cast[link]

Palance was the last living cast member when he died in 2006.

Production notes[link]

Behind the scenes of the filming of Shane.

Although the film is fiction, elements of the setting are derived from Wyoming's Johnson County War.^[4] The physical setting is the high plains near Jackson Hole, Wyoming, and many shots feature the Grand Teton massif looming in the near distance. Other filming took place at Paramount Studios in Hollywood, California.

Director George Stevens originally cast Montgomery Clift as Shane, William Holden as Joe Starrett; when they both proved unavailable, the film was nearly abandoned.^[5] Stevens asked studio head Y. Frank Freeman for a list of available actors with current contracts. Within three minutes, he chose Alan Ladd, Van Heflin and Jean Arthur, though Arthur was not the first choice to play Marian; Katharine Hepburn was originally considered for the role. Even though she had not made a picture in five years, Arthur accepted the part at the request of George Stevens with whom she had worked in two earlier films, The Talk of the Town (1942) and The More the Merrier (1943) for which she received her only Oscar nomination. Shane marked her last film appearance (when the film was shot she was 50 years old, significantly older than her two male co-stars), although she later appeared in theater and a short-lived television series.

Although the film was made between July and October 1951, it was not released until 1953 due to director Stevens' extensive editing. The film cost so much to make that at one point, Paramount negotiated its sale to Howard Hughes, who later pulled out of the arrangement.^{[citation needed]} The studio felt the film would never recoup its costs, though it ended up making a significant profit. Another story^[specify] reported that Paramount was going to release the film as "just another western" until Hughes watched a rough cut of the film and offered to buy it on the spot from Paramount for his RKO Radio Pictures. Hughes' offer made Paramount reconsider the film for a major release.

Jack Palance had problems with horses and Alan Ladd with guns. The scene where Shane practices shooting in front of Joey required 116 takes.^{[citation needed]} A scene where Jack Palance (aka Walter Jack Palahniuk) mounts his horse was actually a shot of him dismounting, but played in reverse. As well, the original planned introduction of Wilson galloping into town was replaced with him simply walking in on his horse, which was noted as improving the entrance by making him seem more threatening.

Technical details[link]

Shane was the first film to be projected in a "flat" widescreen, a format that Paramount invented in order to offer audiences something that Television could not—a panoramic screen.^[6] Paramount, in conjunction with the management of Radio City Music Hall, installed a screen measuring 50 feet wide by 30 feet high,^[7] replacing the Hall's previous screen, which was 34 feet wide by 25 feet high.^[8] Although the film's image was shot using the standard 1.37:1 Academy ratio, Paramount picked Shane to debut their new wide-screen system because it was composed largely of long and medium shots that would not be compromised by cropping the image. Using a newly cut aperture plate in the movie projector, as well as a wider-angle lens, the film was exhibited in its first-run venues at an aspect ratio of 1.66:1. Just before the premiere, Paramount announced that all of their films would be shot for this ratio from then on.^[6] This was changed in 1954, when the studio changed their house aspect ratio to 1.85:1.

The film was originally released with a conventional optical soundtrack in April 1953, but the success of the film convinced the producers to re-mix the soundtrack in May with a new three-track, stereophonic soundtrack, which was recorded and played on a 35mm magnetic full coat reel installed by Altec, in interlock on another dubber in the projection booth.^[9] This process was new to the general public, only having been debuted in New York City with This is Cinerama and nationally with Warner Bros. picture, House of Wax.

The film was also one of the first films to attempt to re-create the overwhelming sound of gunfire. Warren Beatty cited this aspect of Shane as inspiration during the filming of Bonnie and Clyde.^[10]

In addition, Shane was one of the first films in which actors were attached to hidden wires that yanked them backwards when they were shot from the front. Director George Stevens also used a small cannon and fired it into a garbage can to create the loud report of the pistol for maximum effect. Stevens was in World War II and saw what a single bullet can do to a man.^[11]

In the mid to late 1970s, the Welsh television station HTV Cymru/Wales broadcast a version dubbed into the Welsh language.^[12]

Reception[link]

The film opened in New York City at Radio City Music Hall on April 23, 1953.^[8] According to Motion Picture Daily, "opening day business at the Music Hall was close to capacity. The audience at the first performance applauded at the end of a fight sequence and again at the end of the picture.^[13]

Bosley Crowther, after attending the premiere, called the film a "rich and dramatic mobile painting of the American frontier scene" and noted:

Crowther called "the concept and the presence" of Joey, the little boy played by Brandon deWilde, as being key to "permit[ting] a refreshing viewpoint on material that's not exactly new. For it's this youngster's frank enthusiasms and naive reactions that are made the solvent of all the crashing drama in A. B. Guthrie Jr.'s script."^[14]

Shane ended its run at Radio City Music Hall on May 20, 1953, racking up $114,000 in four weeks at Radio City.^[15]

Nearly 50 years later, Woody Allen called Shane "George Stevens' masterpiece" and said it is on his "list of great American films, which include, among others, ... The Treasure of the Sierra Madre, White Heat, Double Indemnity, The Informer and The Hill by Sidney Lumet.... Shane...is a great movie and can hold its own with any film, whether it's a western or not."^[16]

Awards and honors[link]

Wins

• Academy Award for Best Cinematography, Color, Loyal Griggs; 1954.

Nominations

• Academy Awards: Best Actor in a Supporting Role, Brandon deWilde; Best Actor in a Supporting Role, Jack Palance; Best Director, George Stevens; Best Picture, George Stevens; Best Writing, Screenplay, A.B. Guthrie Jr.; 1954.

Other

• In 1993, Shane was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".

• Shane was listed at #69 on the original AFI's 100 Years... 100 Movies list in 1997. When the list was revisited in 2007, it rose to #45.

• In June 2008, AFI revealed its "Ten top Ten"—the best ten films in ten "classic" American film genres—after polling over 1,500 people from the creative community. Shane was listed as the third best film in the western genre.^[17][18]

American Film Institute recognition

• AFI's 100 Years... 100 Movies #69
• AFI's 100 Years... 100 Heroes and Villains:
  • Shane, Hero #16
• AFI's 100 Years... 100 Movie Quotes #47
  • "Shane. Shane. Come back!"
• AFI's 100 Years... 100 Cheers #53
• AFI's 100 Years... 100 Movies (10th Anniversary Edition) #45
• AFI's 10 Top 10 #3 Western

Homages[link]

Clint Eastwood's western Pale Rider pays tribute to Shane with a similar plot and similar ending. The movie Nowhere to Run (1993) with Jean-Claude Van Damme and Rosanna Arquette was loosely based on Shane. The 1965 comedy western Cat Ballou spoofs Shane in various ways. Its buckskin-clad "good" gunfighter Kid Shelleen and black-clad villain Tim Strawn are obviously patterned after Shane and Jack Wilson, respectively, though in Cat Ballou the two adversaries turn out to be brothers. The McBain family funeral scene in the Sergio Leone epic Once Upon a Time in the West (1968) is borrowed almost shot-for-shot from the funeral scene in Shane.

The 1984 album The Pros and Cons of Hitch Hiking by British musician and Pink Floyd founder member Roger Waters references the movie Shane extensively. Mainly in the track "5.01AM" where audio samples from the movie are used to punctuate verses of the song.

It is also speculated that the animated series Cowboy Bebop based its final episode loosely on the ending as an homage.

The 1966 television series Batman featured a cowboy-themed villain called "Shame" played by Cliff Robertson. The storyline that introduces Shame also riffs on the film's famous catchphrase, featuring a young boy calling "Come back, Shame!"

The "Come back, Shane" catchphrase was also referenced by Charles M. Schulz in his Peanuts comic strip on occasion (see March 23, 1989 strip).

In the "Jerky Boys the Movie" Kamal says, "Come back Shane" when they show the Caravan Pictures logo.

In the 1998 film The Negotiator, Kevin Spacey's character tries to convince Samuel L. Jackson's character that viewers should conclude that Shane is dead at the end of the movie because he is slumped over his horse and unable to look back. Jackson's character contends that Shane's death is only an assumption. "Slumped don't mean dead," he says.

Copyright status in Japan[link]

In 2006, Shane was the subject of a major legal case in Japan involving the expiration of its copyright in Japan. First Trading Corporation had been selling budget-priced copies of public domain movies, including Shane, as Japanese law only protected cinematographic works for 50 years from the year it was published—which meant that Shane fell into the public domain in 2003. In a lawsuit filed by Paramount, it was contested that Shane was not in the public domain in Japan due to an amendment which extended the copyright term for these works from 50 to 70 years, and came into effect on January 1, 2004. It was later ruled that the new law was not retroactive, and any film produced during or before 1953 was not eligible for the extension.^[19]

References[link]

20. The Making of Shane, Walt Farmer, Jackson, WY, 2001

External links[link]

Wikimedia Commons has media related to: Shane (film)

• Shane at the Internet Movie Database
• Shane at the TCM Movie Database
• Shane at AllRovi
• Shane at Rotten Tomatoes
• Shane at Filmsite.org
• "The Making of Shane"

Look up shane in Wiktionary, the free dictionary.

Shane may refer to:

People[link]

• Shane (name), masculine given name

(includes a list of people with this name)

• Shane or Shana (given name), variant spelling of the Yiddish feminine given name "Shayna"
• Shane (pornographic actress) (born 1969), American pornographic actress
• Shane is a very popular first name for men (#190 out of 1220) and also a very popular surname or last name for all people (#6381 out of 88799). (1990 U.S. Census)

Media[link]

• Shane (UK TV series), 2004 sitcom written by and starring Frank Skinner
• Works related to Jack Schaefer:
  • Shane (novel), Western novel written by Schaefer in 1949
  • Shane (film), 1953 movie based on the book
  • Shane (TV series), 1966 television series starring David Carradine
• The Shanes, a Swedish rock band
• Ask Shane, a web series

See also[link]

• Shayne (disambiguation)

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

	Wikinews has related Film news:
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• Allmovie – Information on films: actors, directors, biographies, reviews, cast and production credits, box office sales, and other movie data.
• Film Site – Reviews of classic films
• Movies at the Open Directory Project
• Rottentomatoes.com – Movie reviews, previews, forums, photos, cast info, and more.
• The Internet Movie Database (IMDb) – Information on current and historical films and cast listings.

Shane Carruth (born 1972) is an American film writer, director, editor, producer, actor and musician.^[1][2]

Life and career[link]

Carruth was born in Myrtle Beach, South Carolina. He attended Stephen F. Austin State University.^[3]

Carruth wrote, directed, produced, performed one of the two main roles, and composed the music for his independent film Primer, which was honored at the 2004 Sundance Film Festival with the Grand Jury Prize. Carruth, a former software engineer with an undergraduate degree in mathematics, utilized his technical knowledge on the project.

David Sullivan, one of the leads in Primer, claimed on his Twitter that "Shane Carruth's next project, A Topiary, is in the early stages of pre-production." Filmmaker Rian Johnson also posted: "Shane... has a mind-blowing sci-fi script. Let's all pray to the movie-gods that he gets it made soon." ^[4] In 2010, several news sources reported that A Topiary is in the works, and that the script is written. There is already a website for the movie (www.atopiary.com), which, according to Carruth in an interview to io9, "The website for now is just a place mark as financing has yet to be completed. I'm cautiously optimistic that this can happen soon and couldn't be happier with the filmmakers that have committed to the project so far."^[5]

Awards and nominations[link]

Primer

• 2004 Sundance Film Festival: Grand Jury Prize
• 2004 Sundance Film Festival: Alfred P. Sloan Prize (for a film dealing with science and technology)
• 2004 Nantucket Film Festival: Best Writer/Director
• 2004 Gotham Awards Nomination: Best Feature
• 2005 London International Festival of Science Fiction: Best Feature
• 2005 Independent Spirit Award Nomination: Best Feature
• 2005 Independent Spirit Award Nomination: Best Director
• 2005 Independent Spirit Award Nomination: Best First Screenplay
• 2005 Independent Spirit Award Nomination: Best Actor in a Debut Performance (David Sullivan)

References[link]

External links[link]

• Shane Carruth at the Internet Movie Database

Interviews

• Interview with Shane Carruth about 'PRIMER'- 07/Mar/04, MakingTheFilm.Com
• A Primer Primer, By Dennis Lim Tuesday, Oct 5 2004, New York - Village Voice
• Interview with Primer director Shane Carruth, 2004-10-03, sffworld.com
• Primer Movie website

Shane Dawson
Dawson at the Streamy Awards in 2010
Born	Shane Lee Yaw (1988-07-19) July 19, 1988 (age 23) Long Beach, California, U.S.
Occupation	YouTube video maker (actor, comedian)
Years active	2008–present
Known for	Sketch comedy, vlogging
Website
www.shanedawsontv.com

Shane Dawson (born Shane Yaw; July 19, 1988)^[1][2][3] is an American YouTube actor, comedian, and musician. Dawson is known for making comedy videos featuring many recurring characters (such as Shananay, Ned the Nerd, S. Deezy, Mom, and Aunt Hilda), impersonations (such as Paris Hilton, Miley Cyrus and Sarah Palin), and spoofs of popular music videos and television shows. As of September 2011 his main YouTube channel is the fifth most subscribed channel of all time, behind Ray William Johnson, Nigahiga, Smosh, and Machinima.com.^[4][5][6] Dawson has since expanded on YouTube by adding his second channel (twelfth most subscribed)^[4] where he posts video blogs and the series "Ask Shane", which moved to his main channel February 26, 2011.^[7]

Dawson's career began when he and several friends would turn in videos instead of homework in high school. Dawson's first videos on YouTube were old assignments that he turned in during high school.^[8][9]

In November 2009, Dawson was featured on Attack of the Show!^[10] In 2010, Forbes magazine named him their 25th most famous web celebrity.^[3]

Dawson's debut mainstream single (third overall), SUPERLUV! was released on March 31, 2012.^[11]

Personal life[link]

Dawson grew up in Long Beach, California, where he attended Lakewood High School.^[12] Dawson has revealed in a video, that as a teenager he was over-weight and would get bullied a lot, as well as being beaten by his alcoholic father, who then abandoned the family. He has since lost 150 pounds. Shane has three dogs, Miley, Charlie, and Chocolate as well as two cats, Muffins and Snoop. They often appear in his videos. He used to work in Jenny Craig, Inc. along with his mother and brother, but was fired after he uploaded a video of himself pole dancing in the building he worked in. His mother, brother and about 6 other coworkers who appeared in the video also got fired after the company saw the video.^[13] In a video he said he is a virgin, and plans to stay one until he is married as he believes strongly in sex after marriage.^[14] Shane Dawson revealed in a video that he and an unknown female broke up from their relationship, which lasted about a year.^[15] He decided to not release the female's identity in order to preserve her from getting negative criticism. In March 2012, Dawson stated that he was in a relationship with fellow YouTuber, Lisa Schwartz.^[16]

Dawson currently resides in Sherman Oaks, California.^[17]

YouTube channels[link]

Dawson posts new videos on his main channel, ShaneDawsonTV, every Saturday and video blogs on his second channel, ShaneDawsonTV2, throughout the week.^[18] Every Monday, posted on his second channel, he also has an "Ask Shane" webseries where he answers questions from his viewers. This series is similar to a previous web series, "Viewer Orgy Party", which currently only airs approximately once a month. His third YouTube channel, Shane, is where he posts unedited videos directly from his iPhone. He began using this channel in May, 2010. Starting in 2012 Shane had announced he would be making daily blogs (video blog) on his iPhone channel. He has also begun a new series called "Shane and Friends" on his main channel which he does once every month. This series includes him giving advice and talking as basically all his characters. Shane often collaborates with other YouTubers or appears in their videos, such as BrittaniLouiseTaylor, TheFineBros, JoeNationTV, and ijustine.

In August 2010, he announced that he was going to write a television pilot and post it on his main channel, featuring himself and his characters from previous videos, about him in high school.

Television projects[link]

On August 11, 2010, Dawson announced that he was in the making of a 30-minute pilot which he will call SD High. Previously, the funding he needed for the pilot was provided by digital media group Take180 after he helped them out with acting in their own videos.^[19] The pilot is based on two previous videos which Dawson uploaded to his main channel in Summer 2010. In his previous videos, the story centers around a teenage boy in school, and his interactions with the other characters. The pilot was due to be released towards the end of September 2010 on his main YouTube Channel, however Dawson later announced that he had been contacted by a television studio to produce the pilot for their TV channel(s).^[20] According to Dawson, there is some uncertainty involving the pilot, however it may be a TV show in the future.^[21] On March 26, 2011, Dawson uploaded a video to YouTube explaining to his audience that he's working with Happy Madison Productions, Sony Pictures, and some other YouTubers including TheFineBros and BrittaniLouiseTaylor to create the television show.^[22] The video contains an explanation from Dawson about what he's working on, and a 'mock trailer', made up of clips from previous episodes on his YouTube channel, for the show.

In January 2012, Dawson stated in a video that he was now working on a new television show, which would be semi-based on his life working at a Weight Loss center. He stated that he would be pitching the show soon, and that he was "really excited" for it, and stated the show was "kind of like Arrested Development, but - not."^[23] Recently, Shane, on May 16, 2012, announced in his daily vlog that he was working on a professional horror-comedy movie. "I want to write something like a teen comedy but like scary and fun," said Dawson in the vlog, Day 96.

Music projects[link]

In 2012, Dawson revealed in his Vlogs that he was working on a music project. In March 2012, Dawson revealed that his debut mainstream single, SUPERLUV! would be released that month. The song was released on March 31, 2012 on iTunes, with an accompanying music video debuting on his YouTube channel on the same day. The song managed to chart at 87 in Ireland, 16 on the UK Indie Chart and reached the 28th spot on the US iTunes Pop Chart.

On May 8, 2012, Dawson revealed in a video that he has begun working on his next original song, which is tentatively titled The Vacation Song. He previewed about 10 seconds of the "rough edit" of the song, and stated that he was going to change the mood of the song, saying, "Right now, it's a little too happy, because it's a break up song. I want it to be more like Kelly Clarkson's Since You've Been Gone." He stated that the song would "hopefully" be released by the beginning of June 2012.^[24]

Major productions[link]

• Hot Teens Gone Wild on Degrassi! Part 1 - November 21, 2009 (11-minute long special)
• Hot Teens Go Wild on Degrassi! Part 2 - March 6, 2010 (12-minute long special)
• SD High: School Dance Disaster - July 3, 2010 (SD High Episode 1) (8-minute long special)
• SD High: High School Drama - July 31, 2010 (SD High Episode 2) (9-minute long special)
• Haunted House Party - October 30, 2010 (Interactive Halloween special)
• Shane Dawson's Love Story - December 18, 2010 (10-minute long Christmas special)
• SD High: Teens Gone Wild - March 26, 2011 (SD High Episode 3) (7-minute long special)
• Final Destination: The Game - July 2, 2011 (Interactive special based on the Final Destination film series )
• Friends 4Ever - October 29, 2011 (22-minute long Halloween short film)
• How Shananay Stole Christmas - December 17, 2011 (15-minute long Christmas special)

Dawson will play a character named Binder in the upcoming feature-length horror film, Smiley (directed by YouTuber Michael Gallagher and produced by Level 10 Films) which has finished filming and is currently in post-production. It will be released in theaters and DVD in 2012.^[25]

Discography[link]

Singles[link]

Note: These are only songs Shane has released officially to iTunes as singles. He has also released a set of ringtones on iTunes, also available to download as tracks, and he releases all his parodies free on a media sharing website.

Awards and nominations[link]

Dawson has been nominated for various awards.^[26] On August 9, 2010, Dawson won the award for Choice Web Star at the 2010 Teen Choice Awards. Although the category was not featured at the awards show, Dawson stated in a video that he posted to YouTube the next day that "It was just great to be nominated and at the show itself". The nominees for that category included fellow YouTubers Justine Ezarik, Charles Trippy, Lucas Cruikshank, best known for his Fred character, and singer Greyson Chance. Dawson was nominated for Choice Web Star in the 2011 Teen Choice Awards, but lost to Rebecca Black.

References[link]