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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]

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

The 100: A Ranking of the Most Influential Persons in History is a 1978 book by Michael H. Hart, reprinted in 1992 with revisions. It is a ranking of the 100 people who, according to Hart, most influenced human history.^[1]

The first person on Hart's list is the Prophet of Islam Muhammad.^[2] Hart asserted that Muhammad was "supremely successful" in both the religious and secular realms. He also believed that Muhammad's role in the development of Islam was far more influential than Jesus' collaboration in the development of Christianity. He attributes the development of Christianity to St. Paul, who played a pivotal role in its dissemination."^[3]

The 1992 revisions included the demotion of figures associated with Communism, such as Vladimir Lenin and Mao Zedong, and the introduction of Mikhail Gorbachev. Hart took sides in the Shakespearean authorship issue and substituted Edward de Vere, 17th Earl of Oxford for William Shakespeare. Hart also substituted Niels Bohr and Henri Becquerel with Ernest Rutherford, thus correcting an error in the first edition. Henry Ford was also promoted from the "Honorary Mentions" list, replacing Pablo Picasso. Finally, some of the rankings were re-ordered, although no one listed in the top ten changed position.

Hart wrote another book in 1999, entitled A View from the Year 3000,^[4] voiced in the perspective of a person from that future year and ranking the most influential people in history. Roughly half of those entries are fictional people from 2000–3000, but the remainder are actual people. These were taken mostly from the 1992 edition, with some re-ranking of order.

Hart's Top 10 (from the 1992 edition)[link]

Rank	Name	Time Frame	Image	Occupation	Influence
1	Muhammad	c. 570–632		Secular and religious leader	The central human figure of Islam, regarded by Muslims as a prophet of God and the last messenger. Active as a social reformer, diplomat, merchant, philosopher, orator, legislator, military leader, humanitarian, philanthropist.
2	Isaac Newton	1643–1727		Scientist	English physicist, mathematician, astronomer, natural philosopher, alchemist, and theologian. His law of universal gravitation and three laws of motion laid the groundwork for classical mechanics.
3	Jesus Christ	7–2 BC – 26–36 AD		Spiritual leader	The central figure of Christianity, revered by Christians as the Son of God and the incarnation of God.
4	Buddha	563–483 BC		Spiritual leader	Spiritual teacher and philosopher from ancient India. Founder of Buddhism and is also considered an Gautama Buddha in Hinduism.
5	Confucius	551–479 BC		Philosopher	Chinese thinker and social philosopher, whose teachings and philosophy have deeply influenced Chinese, Korean, Japanese, Vietnamese and Indonesian thought and life. Founded Confucianism, and influenced Neo-Confucianism and New Confucianism.
6	St. Paul	5–67 AD		Christian apostle	One of the most notable of early Christian missionaries, credited with proselytizing and spreading Christianity outside of Palestine (mainly to the Romans) and author of numerous letters of the New Testament of the Bible.
7	Cài Lún	50–121 AD		Political official in imperial China	Widely regarded as the inventor of paper and the papermaking process.
8	Johannes Gutenberg	1398–1468		Inventor	German printer who invented the mechanical printing press.
9	Christopher Columbus	1451–1506	70px	Explorer	Italian navigator, colonizer and explorer whose voyages led to general European awareness of the American continents.
10	Albert Einstein	1879–1955		Scientist	German theoretical physicist, best known for his theory of relativity and specifically mass–energy equivalence, expressed by the equation E = mc2.

See also[link]

• Time 100

References[link]

1. ^ Michael H. Hart The 100: A Ranking of the Most Influential Persons in History. first published in 1978, reprinted with minor revisions 1992. ISBN 978-0-8065-1068-2
2. ^ The 100: A Ranking of the Most Influential Persons in History^{[dead link]}
3. ^ Michael H. Hart, "The 100: A Ranking of the Most Influential Persons in History", Citadel Publishing, 2000, ISBN 978-0-8065-1350-8
4. ^ Michael H. Hart. A view from the year 3000: a ranking of the 100 most influential persons of all time; first published in 1999

External links[link]

• Religious Affiliation of History's 100 Most Influential People

Michael Bay
on the set of Transformers (May 30, 2006)
Born	Michael Benjamin Bay (1965-02-17) February 17, 1965 (age 47) Los Angeles, California, U.S.
Occupation	Film director Film producer
Years active	1984–present

Michael Benjamin Bay (born February 17, 1965) is an American film director and producer. He is known for directing high-budget action films characterized by their fast edits, stylistic visuals and substantial practical special effects.^[1][2] His films, which include The Rock, Armageddon, Pearl Harbor and the Bad Boys and Transformers series, have grossed over three billion dollars world-wide.^[3] He is co-founder of commercial production house The Institute, a.k.a. The Institute for the Development of Enhanced Perceptual Awareness.^[4] He is co-chair and part-owner of the digital effects house Digital Domain.^[5] He co-owns Platinum Dunes, a production house which has remade horror movies including Friday the 13th, The Texas Chainsaw Massacre, and A Nightmare on Elm Street.^[6]

Early life[link]

Michael Bay was born and raised in Los Angeles, California. He was raised by his adoptive parents Harriet, a bookstore owner/child psychiatrist, and Jim, a CPA.^[7] Bay's grandfather was Russian.^[8] His cousin, Susan Bay, is the wife of Star Trek actor Leonard Nimoy.^[9] He attended the exclusive Crossroads School, in Santa Monica, California.^[10] Bay often traces his interest in action films back to an incident during his childhood. As a boy, he attached some firecrackers to a toy train and filmed the ensuing fiery disaster with his mother's 8mm camera. The fire department was called and he was grounded.^[11]

Career[link]

Bay got his start in the film industry interning with George Lucas when he was fifteen, filing the storyboards for Raiders of the Lost Ark, which he thought was going to be terrible. His opinion changed after seeing it in the theater and he was so impressed by the experience that he decided to become a film director.^[12] He graduated from Wesleyan University in 1986, majoring in both English and Film.^[13][14] He was a member of the Psi Upsilon fraternity and a favorite student of film historian Jeanine Basinger.^[15] For his graduate work, he attended Art Center College of Design in Pasadena where he also studied film.^{[citation needed]}

Michael Bay began working at Propaganda Films, directing commercials and music videos, two weeks after finishing his post-graduate degree.^{[citation needed]} His 90-second World War II-inspired Coca-Cola advertisement was picked up by Capitol Records. His first national commercial for the Red Cross won a Clio Award in 1992.^[16][17] He directed Goodby, Silverstein & Partners Got Milk? advertisement campaign for the California Milk Processors Board in 1993.^[18]

Bay's success in music videos gained the attention of producers Jerry Bruckheimer and Don Simpson, who selected him to direct his first feature-length film, Bad Boys. The film was shot in Miami in 1994 and starred Will Smith and Martin Lawrence. The action film proved to be a break-out role for Smith, who was segueing from television to films at that time. Shooting in Miami was a good experience for Bay who would later own a home in the city and spend a great deal of time there.^[19] The film was completed for $19 million dollars and grossed a remarkable $141 million at the box office in the summer of 1995.^[20] Bay's success led to a strong partnership and friendship with Jerry Bruckheimer.^[21]

His follow-up film, The Rock (1996), was an action movie set on Alcatraz Island, and in the San Francisco Bay area. It starred Sean Connery, Nicolas Cage and Ed Harris. It was also produced by Jerry Bruckheimer and Don Simpson, the latter of whom died five months before the film's release. The film is dedicated to him.^[22] Connery and Cage won 'Best On-Screen Duo' at the MTV Movie Awards in 1997 and the film was nominated for an Academy Award in the Best Achievement in Sound category for the work of Greg P. Russell, Kevin O'Connell, and Keith A. Wester.^[23][24]

In 1998, Bay collaborated with Jerry Bruckheimer again, this time as a co-producer, as well as directing the action-adventure film Armageddon.^[25][26] The film, about a group of tough oil drillers who are sent by NASA to deflect an asteroid away from a collision course with Earth, starred Bruce Willis, Billy Bob Thornton, Ben Affleck and Liv Tyler. It was nominated for 4 Oscars at the 71st Academy Awards including Best Sound, Best Visual Effects, Best Sound Editing, and Best Original Song.^[27] The film earned 9.6 million dollars on its opening day and a total of 36.5 million through the first weekend.^[28] The production budget, $140 million dollars, was one of the highest of the summer of 1998. Armageddon went on to gross over $553 million dollars worldwide.^[29]

In 2001, Bay directed Pearl Harbor. It starred Ben Affleck, Josh Hartnett, Kate Beckinsale and Cuba Gooding, Jr. The film was released on Memorial Day weekend in 2001. Again, Bay produced the film with Jerry Bruckheimer. The film received four Academy Award nominations, including Best Sound, Best Visual Effects, Best Sound Editing and Best Song. Again, Kevin O'Connell received another nomination for Best Sound, but he did not win. Pearl Harbor won in the category for Sound Editing.^[30] Michael Bay also directed the music video for nominated track "There You'll Be" by vocal artist Faith Hill.^{[citation needed]}

Bay reteamed with Will Smith and Martin Lawrence for Bad Boys II, an event which also marked Bay's fifth collaboration with Jerry Bruckheimer. The film grossed $138 million domestically, enough to cover the production budget, and $273 million worldwide, almost twice as much as the first movie.

In 2005, Bay directed The Island, a science-fiction film starring Ewan McGregor and Scarlett Johansson. It was the first film Michael Bay made without Jerry Bruckheimer. The Island cost $126 million to produce. It earned $46 million domestically and $172 million worldwide. Bay stated that he was not comfortable with the domestic marketing campaign as it confused the audience as to the true subject of the film.^[31]

In 2007, he directed and teamed up with Steven Spielberg to produce Transformers, a live action film based on the Transformers franchise. The film was released in the U.S. and Canada on July 3, 2007, with 8 p.m. preview screenings on July 2. The previews earned $8.8 million, and in its first day of general release it grossed $27.8 million, a record for Tuesday box office attendance.^{[citation needed]} It broke the record held by Spider-Man 2 for the biggest July 4 gross, making $29 million. On its opening weekend, Transformers grossed $70.5 million, amounting to a $155.4 million opening week, giving it the record for the biggest opening week for a non-sequel.^{[citation needed]} As of November 2007, the film has made over $319 million domestically and over $708 million worldwide.

Bay returned as director and executive producer for Transformers: Revenge of the Fallen, which was released on June 24, 2009 and went on to gross over $832 million worldwide. Although it received mostly negative reviews by critics,^[32] including aggressively critical reviews by American film critics such as Roger Ebert,^[33] Michael Phillips^[34] and David Denby (who referred to Bay as "stunningly, almost viciously, untalented"),^[35][35] the film was well-received by its intended audience and was one of the highest-grossing films of 2009.^[36][37] In 2010, it earned seven Golden Raspberry Award nominations and winning three: Worst Picture, Worst Director and Worst Screenplay.^[38]

As of 2009, Michael Bay's worldwide box office totals make him the director with the eighth highest domestic US gross of all time (not adjusted for inflation).^[39] It was also one of the best selling DVD and Blu-ray Discs of 2009, second only to Twilight in DVD format and the number one of all time in Blu-ray format until it was surpassed by Blu-ray sales of James Cameron's Avatar in April 2010.^[40][41][42]

Bay directed Transformers: Dark of the Moon, released on June 28, 2011.^[43] He may direct a sequel to the Bad Boys franchise or a "small" film he's been developing for years, tentatively called Pain & Gain.^[44] The true crime story, based on events described in a Miami Herald article^[45] written by Pete Collins, concerns a group of bumbling bodybuilders working together to commit a robbery.

Bay produced DreamWorks' I Am Number Four, based on a series of novels by authors James Frey and Jobie Hughes published by HarperCollins Children's Books. D. J. Caruso (Eagle Eye, Disturbia) directed.^[46][47]

Bay will co-produce One Way Out, a reality series that pits ordinary people against each other as they try to keep their pasts hidden and builds toward a showdown where all those secrets will be revealed.^[48]

Gideon's Sword, Douglas Preston and Lincoln Child's novel set for release in February 2011, was optioned by Bay Films and will be produced by Michael Bay. The main character, Gideon Crew, avenges the death of his father.^[49][50]

In June 2011, Bay confirmed that Pain & Gain was his next project and that it would have a budget of $20 million.^[51]

On February 13, 2012, Paramount Pictures announced that Bay will produce and direct a fourth Transformers movie with a scheduled release date of June 2014.^[52]

Production and FX companies[link]

Platinum Dunes[link]

Bay founded this production house with fellow producers Brad Fuller and Andrew Form in 2001.^[53] Platinum Dunes is named after one of Bay's first student films at Wesleyan University. Brad Fuller also graduated from Wesleyan and worked for Bay as an executive assistant before joining him in this business venture. The company's first film, a remake of the 1974 film The Texas Chain Saw Massacre, grossed $107 million dollars worldwide.^[54] Platinum Dunes produced lucrative remakes of classic horror films and introduced new directors like Sam Bayer and Marcus Nispel to feature film audiences. Their most recent horror film production, A Nightmare on Elm Street starring Jackie Earle Haley as Freddy Krueger, was released April 2010. The film made 32.9 million dollars in its opening weekend, covering nearly its entire 35 million dollar budget and went on to gross over 100 million dollars worldwide.^[55]

Paramount Pictures signed a first look deal with Platinum Dunes in 2009.^[56] As part of this new relationship, Paramount Pictures and Nickelodeon have brought the Platinum Dunes producers on to produce a new Teenage Mutant Ninja Turtles, rebooting the film series launched by New Line in 1990. Bay, Fuller and Form will co-produce with Galen Walker, Scott Mednick and Marina Norman.^[57]

Platinum Dunes is currently in the process of selling an unnamed TV series to a "major cable network" with Bay in talks to direct the pilot.^[58]

Digital Domain[link]

Bay and Wyndcrest Holdings, a Florida-based investment firm, acquired the digital effects company Digital Domain from James Cameron and Stan Winston in 1996, infusing the struggling business with a $50 million dollar investment.^[5] Digital Domain considered an initial public offering in 2009 but ultimately withdrew the offer, because of the lack of interest. Currently a work for hire visual effects production house, Digital Domain plans to expand its efforts in the video gaming industry and become a full-fledged motion picture production house. Headquartered in Venice, Los Angeles, California, the company is also working to open branches in Vancouver, Canada and the state of Florida.^[59]

The Institute[link]

After leaving Propaganda Films, Bay and producer Scott Gardenhour, also formerly at Propaganda, formed The Institute for the Development of Enhanced Perceptual Awareness^[60] (now known as The Institute), to produce commercials and other projects. Through The Institute, Bay has directed and produced spots for Victoria's Secret, Lexus, Budweiser, Reebok, Mercedes-Benz, and Nike. His most recent advertisement for Victoria Secret was the 2009 "A Thousand Fantasies" holiday campaign.^[61]

Awards and honors[link]

Bay has received five MTV Movie Awards: Best Movie and Best Summer Movie You Haven't Seen Yet for Transformers, Best Action Scene for Pearl Harbor, Best Action Scene for Bad Boys II, and Best Action Scene for The Rock.^{[citation needed]} In 1994, Bay was honored by the Directors Guild of America with an award for Outstanding Directorial Achievement in Commercials.^[62]

Michael Bay received the ShoWest 2009 Vanguard Award for excellence in filmmaking at the confab of theater owners.^[63]

Personal life[link]

Bay lives in Los Angeles and Miami with his two bullmastiffs, Bonecrusher and Grace, named for characters in Transformers and Armageddon, respectively. As a boy, he donated his Bar Mitzvah money to an animal shelter and often includes his bullmastiff dogs in his films.^[64] He had another dog, Mason. Mason the dog's last appearance in a film was as Miles' dog in Transformers. He died during production of that film in March 2007.^[65][66]

Filmography[link]

Feature films[link]

Television[link]

• Miami Vice (TV series) (1986) (actor - Goon #3)
• No Way Out (TV series) (announced) (producer)
• Cocaine Cowboys (TV series) (announced) (producer)

Music videos[link]

• "Soldier of Love" by Donny Osmond (1989) (director)
• "Angelia" by Richard Marx (1989) (director)
• "I'll Be Holding On" by Greg Allman (1989) (director) ... from the film Black Rain
• "I Love You" by Vanilla Ice (1991) (director)
• "I Touch Myself" by Divinyls (1991) (director)
• "Love Thing" by Tina Turner (1992) (director)
• "Do It to Me" by Lionel Ritchie (1992) (director)
• "You Won't See Me Cry" by Wilson Phillips (1992) (director)
• "I'd Do Anything for Love (But I Won't Do That)" by Meat Loaf (1993) (director)
• "Rock and Roll Dreams Come Through" by Meat Loaf (1994) (director)
• "Objects in the Rear View Mirror May Appear Closer Than They Are" by Meat Loaf (1994) (director)
• "Falling in Love (Is Hard on the Knees)" by Aerosmith (1997) (director)
• "There You'll Be" by Faith Hill (2001) (director) ... Theme from Pearl Harbor

References[link]

Notes