Bette Davis and Henry Fonda in Jezebel (1938), one of the quintessential woman's films. Davis plays a Southern belle who loses her fiancé (Fonda) and her social standing when she defies conventions. She redeems herself by self-sacrifice.^[1]

The woman's film is a film genre which includes women-centered narratives, female protagonists and is designed to appeal to a female audience. Woman's films usually portray "women's concerns" such as problems revolving around domestic life, the family, motherhood, self-sacrifice, and romance.^[2] These films were produced from the silent era through the 1950s and early 1960s, but were most popular in the 1930s and 1940s, reaching their zenith during World War II. Although Hollywood continued to make films characterized by some of the elements of the traditional woman's film in the second half of the 20th century, the term itself disappeared in the 1960s. The work of directors George Cukor, Douglas Sirk, Max Ophüls, and Josef von Sternberg has been associated with the woman's film genre.^[3] Joan Crawford, Bette Davis, and Barbara Stanwyck were some of the genre's most prolific stars.^[4]

The beginnings of the genre can be traced back to D. W. Griffith's silent films. Film historians and critics defined the genre and canon in retrospect. Before the woman's film became an established genre in the 1980s, many of the classic woman's films were referred to as melodramas.

Woman's films are films that were made for women by predominantly male screenwriters and directors whereas women's cinema encompasses films that have been made by women.^[5]

Definition[link]

When the woman's film was still at a nascent stage, it was not regarded as a fully independent genre.^[7] Mary Ann Doane, for example, argued that the woman's film is not a "pure genre" because it is crossed and informed by a number of other genres such as melodrama, film noir, the gothic, and horror film.^[8] Similarly, film scholar Scott Simmon argues that the woman's film has remained "elusive" to the point of having its very existence questioned. This elusiveness, he argues, is partially due to the fact that the woman's film is an oppositional genre which can only be defined in opposition to male-centered genres like the Western and gangster film.^[9] It has also been noted that it is a critically rather than industrially constructed genre, having been defined in retrospect rather than at the time of the films' production.^[10] The woman's film was seen as closely related to and even synonymous with melodrama.^[11] Other terms commonly used to describe the woman's film were "drama", "romance", "love story", "comedy drama", and "soap opera".^[12] Since the late 1980s, the woman's film has been an established film genre.^[13] Film scholar Justine Ashby, however, has observed a trend in British cinema that she calls "generic eclipse" whereby films that adhere to all the fundamental tenants of the woman's film are subsumed under other genres. Millions Like Us (1943) and Two Thousand Women (1944), for example, have been described and promoted as war films rather than woman's films.^[14]

The woman's film differs from other film genres in that it is primarily addressed to women.^[15] Cinema historian Jeanine Basinger argues that the first of three purposes of the woman’s film is "to place a woman at the center of the story universe".^[16] In most other and particularly men-oriented film genres the opposite is the case as women and their concerns have been assigned minor roles. Molly Haskell explains that "if a woman hogs this universe unrelentingly, it is perhaps her compensation for all the male-dominated universes from which she has been excluded: the gangster film, the western, the war film, the policier, the rodeo film, the adventure film".^[17] The second purpose of the woman's film, according to Basinger, is "to reaffirm in the end the concept that a woman's true job is that of being a woman". A romantic ideal of love is presented as the only "career" that will guarantee happiness and that women should aspire to.^[16] The third purpose of the genre, as suggested by Basinger, is "to provide a temporary visual liberation of some sort, however small – an escape into a purely romantic love, into sexual awareness, into luxury, or into the rejection of the female role".^[16] Basinger argues that the major – if not only – action of the woman's film and its biggest source of drama and tragedy is the necessity to make a choice.^[18] The heroine will have to decide between two or more paths that are equally appealing but mutually exclusive as, for example, romantic love and a fulfilling job. One path will be "right" and consistent with the film’s overall morality and the other path will be "wrong" but it will provide liberation. As the films' heroines were punished for following the "wrong" path and ultimately reconciled to their roles as women, wives, and mothers, Basinger argues that woman's films "cleverly contradict themselves" and "easily reaffirm the status quo for the woman's life while providing little releases, small victories or even big releases, big victories".^[19]

Identifying characteristics[link]

Unlike male-centered movies which are frequently shot outdoors, most woman's films are set in the domestic sphere,^[20] which defines the lives and roles of the female protagonist.^[21] Whereas the events in woman's films – weddings, proms, births – are defined by nature and society, the action in male films – chasing criminals, participating in a fight – is story-driven.^[22]

The themes in woman's and male-oriented films are often diametrically opposed: fear of separation from loved ones, emphasis on emotions, and human attachment in women's films, as opposed to fear of intimacy, repressed emotionality, and individuality in male-oriented movies.^[20] The plot conventions of woman's films revolve around several basic themes: love triangles, unwed motherhood, illicit affairs, the rise to power, and mother-daughter relationships.^[23] The narrative pattern depends on the activity engaged in by the heroine and commonly includes sacrifice, affliction, choice, and competition.^[24] The maternal melodrama, the career woman comedy, and the paranoid woman's film, a sub-genre based on suspicion and distrust, are the most frequent sub-genres.^[25] Female madness, depression, hysteria, and amnesia were frequent plot elements in Hollywood's woman's films of the 1940s. This trend took place when Hollywood tried to incorporate aspects of psychoanalysis. In the medical discourse in films like Now, Voyager (1942), Possessed (1947) and Johnny Belinda (1948), mental health is visually represented by beauty and mental illness by an unkept appearance; health was restored if the female protagonist improved her appearance.^[26] Friendship among women was fairly common,^[27] although the treatment was superficial and focused more on women's dedication to men and female-male relationships than on their friendships with each other.^[28]

In King Vidor's Stella Dallas (1937), Barbara Stanwyck plays a working-class mother who sacrifices her connection to her daughter in order to help her become part of an upper-class world.^[29]

The female protagonist is portrayed as either good or bad.^[30] Haskell distinguishes three types of women that are particularly common to woman’s films: the extraordinary, ordinary and the "ordinary woman who becomes extraordinary". The extraordinary women are characters like Scarlett O'Hara and Jezebel who are played by equally extraordinary actresses like Vivien Leigh and Bette Davis. They are independent and emancipated "aristocrats of their sex" who transcend the limitations of their sexual identities. The ordinary women, in contrast, are bound by the rules of their respective societies because their range of options is too limited to break free of their limitations. The ordinary woman who becomes extraordinary is a character who "begins as a victim of discriminatory circumstances and rises, through pain, obsession, or defiance, to become mistress of her fate."^[31] Depending on the type of heroine a film champions, a film can be either socially conservative or progressive.^[32] Certain archetypal characters appear in many woman's films: unreliable husbands, the other man, a female competitor, the reliable friend, usually an older woman, and the sexless male, frequently depicted as an older man who offers the protagonist security and luxury but makes no sexual demands on her.^[33]

A common motif in Hollywood's woman's films is that of the doppelgänger sisters (often played by the same actress), one good and one bad who vie for one man as Bette Davis in her double role in A Stolen Life (1946) and Olivia de Havilland in The Dark Mirror (1946).^[34] The good woman is portrayed as passive, sweet, emotional, and asexual whereas the bad woman is assertive, intelligent, and erotic. The conflict between them is resolved with the defeat of the bad woman.^[35] A central element of the 1980s British woman's film is the motif of escape. Woman's films allow their respective female protagonists to escape their everyday lives and their socially and sexually prescribed roles. The escape can take the form of a journey to another place such as the USSR in Letter to Brezhnev (1985) and Greece in Shirley Valentine (1989) or education as in Educating Rita (1983) and sexual initiation as in Wish You Were Here (1987).^[14]

History[link]

The beginnings of the genre can be traced back to D. W. Griffith whose one- and two-reelers, A Flash of Light (1910) and Her Awakening (1911), feature the trademark narratives of repression and resistance that would later define a majority of women's films.^[36] The genre was particularly popular in 1930s and 1940s, reaching its zenith during World War II.^[37] The film industry of that time had an economic interest in producing such films as women were believed to comprise a majority of movie-goers. In line with this perception, many woman's films were prestigious productions which attracted some of the best stars and directors.^[27] Some film scholars suggest that the genre as a whole was well-regarded within the film industry,^[38] while others argue that the genre and term "woman's film" had derogatory connotations and was used by critics to dismiss certain films.^[39] Production of women's films dropped off in the 1950s as melodrama became more male-centered and as soap operas began to appear on television.^[37] Although Hollywood continued to make films marked by some of the features and concerns of the traditional woman's film in the second half of the 20th century, the term itself disappeared in the 1960s.^[40]

The genre was revived in the early 1970s.^[41] Attempts to create modern versions of the classic woman's film, updated to take account of new social norms, include Martin Scorsese's Alice Doesn't Live Here Anymore (1974), An Unmarried Woman (1978) by Paul Mazursky, Garry Marshall's Beaches (1988), and Fried Green Tomatoes (1995) by Jon Avnet. Similarly, the 2002 films The Hours and Far from Heaven took their cues from the classic woman's film.^[42]

Within British cinema, David Leland returned to the formula of the 1980s woman's film in The Land Girls (1998). The film tells the story of three young women during World War II and offers its heroines the opportunity to escape their old lives. Bend It Like Beckham (2002) emphasizes the key generic theme of female friendship and casts the heroine in a conflict between the restrictions of her traditional Sikh upbringing and her aspirations to become a football player. Lynne Ramsay's Morvern Callar is based on the woman's film tradition; a young woman escapes to Spain and pretends to be the author of her boyfriend's novel. While Morvern's journeys and transformations allow for liberation, she ends up where she started.^[43]

Response[link]

Basinger notes that woman's films were often criticized for reinforcing conventional values, above all, the notion that women could only find happiness in love, marriage and motherhood. However, she argues that they were "subtly subversive". They implied that a woman could not combine a career and a happy family life, but they also offered women a glimpse of a world outside the home, where they did not sacrifice their independence for marriage, housekeeping, and childrearing. The pictures depicted women with successful careers as journalists, pilots, car company presidents, and restaurateurs.^[4] Similarly, Simmon notes that the genre offered a mixture of repression and liberation, in which repressive narratives are regularly challenged, partly via mise-en-scène and acting but also by conflicts within the narratives themselves. He further states that such resistances were present in some of the earliest woman's films and became the rule with Douglas Sirk's postwar American woman's films.^[44] Others have argued, however, that the narratives of these films offer only the repressive perspective and that viewers must read the texts "against the grain" to be able to find a liberating message.^[45] Critics such as Haskell have criticized the term "woman's film" itself. She writes:

What more damning comment on the relations between men and women in America than the very notion of something called the 'woman's film'? (...) A film that focuses on male relationships is not pejoratively dubbed a 'man's film' (...), but a 'psychological drama.'"^[46]

Some woman's film have been met with critical acclaim. Woman's films that were selected for preservation in the United States National Film Registry as being "culturally, historically, or aesthetically significant" include It Happened One Night (1934), Imitation of Life (1934), Jezebel (1938), Gone with the Wind (1939), The Women (1939), The Lady Eve (1941), Now, Voyager (1942),^[47] Mildred Pierce (1945), Letter from an Unknown Woman (1948),^[11] Adam's Rib (1949), All About Eve (1950), and All That Heaven Allows (1995).^[48]

See also[link]

• Chick flick
• Romance film
• Women's cinema

References[link]

Notes

Bibliography

• Altman, Rick (1998). "Rebirth of a Phantom Genre". In Browne, Nick. Refiguring American Film Genres: History and Theory. Berkeley: University of California Press. ISBN 978-0-520-91855-9. http://books.google.com/books?id=lgFhfjS2hNsC&pg=PA27. 
• Ashby, Justine (2010). "'It's been emotional.' Reassessing the Contemporary British Woman's Film". In Bell, Melanie; Williams, Melanie. British Women's Cinema. London; New York: Routledge. ISBN 978-0-203-87200-0. http://books.google.com/books?id=3ydEcsTY1VcC&pg=PA153. 
• Basinger, Jeanine (1994). A Woman's View: How Hollywood Spoke to Women, 1930–1960. London: Chatto & Windus. ISBN 978-0-7011-6093-7. http://books.google.com/books?id=tbZVNPT6x6EC&printsec=frontcover. 
• Basinger, Jeanine (2010). "The Woman's Film. When Women Wept". In Mintz, Steven; Roberts, Randy. Hollywood's America: Twentieth-Century America Through Film. Chichester; Malden, MA: Wiley-Blackwell. ISBN 978-1-4051-9003-9. http://books.google.com/books?id=rc3_uYBKo6sC&pg=PA163. 
• Doane, Mary Ann (1987). The Desire to Desire: The Woman's Film of the 1940s. Bloomington: Indiana University Press. ISBN 978-0-253-31682-0. http://books.google.com/books?id=FLWP6SPGQuYC&printsec=frontcover. 
• Doane, Mary Ann (1986). "The Clinical Eye: Medical Discourses in the 'Woman's Film' of the 1940s". In Rubin Suleiman, Susan. The Female Body in Western Culture: Contemporary Perspectives. Cambridge, Mass.: Harvard University Press. ISBN 978-0-674-29870-5. http://books.google.com/books?id=8pS9-6kjnFoC&pg=PA152. 
• Ferriss, Suzanne; Young, Mallory, eds. (2008). Chick Flicks: Contemporary Women at the Movies. New York: Routledge. ISBN 978-0-415-96255-1. http://books.google.com/books?id=KZ3oqbNWV0AC&printsec=frontcover. 
• Haskell, Molly (1987). From Reverence to Rape: The Treatment of Women in the Movies. Chicago: Chicago University Press. ISBN 978-0-226-31885-1. 
• Hollinger, Karen (1998). In the Company of Women: Contemporary Female Friendship Films. Minneapolis: University of Minnesota Press. ISBN 978-0-8166-3177-3. http://books.google.com/books?id=2LEO2teXAnIC&pg=PA27. 
• Langford, Barry (2005). Film Genre: Hollywood and Beyond. Edinburgh: Edinburgh University Press. ISBN 978-0-7486-1902-3. http://books.google.com/books?id=tFyANhgDs2sC&printsec=frontcover. 
• Neale, Stephen (2000). Genre and Hollywood. London; New York: Routledge. ISBN 978-0-415-02605-5. http://books.google.com/books?id=JOusYmxYQQ0C&pg=frontcover. 
• Simmon, Scott (1993). "'The Female of the Species.' Origins of the Woman's Film at Biograph". The Films of D.W. Griffith. Cambridge: Cambridge University Press. ISBN 978-0-521-38128-4. http://books.google.com/books?id=mz04AAAAIAAJ&pg=PA68. 
• Walsh, Andrea (1986). Women's Film and Female Experience, 1940-1950. Santa Barbara: ABC-CLIO. ISBN 978-0-313-39111-8. 

Woman

Left to right from top: Sappho  • Venus  • Joan of Arc  • Eva Perón  • Marie Curie  • Indira Gandhi  • Venus of Willendorf  • Wangari Maathai  • Mother Teresa  • Grace Hopper  • Mamechiho, a Geisha  • a Tibetian farmer  • Marilyn Monroe  • Oprah Winfrey  • Aung San Suu Kyi  • Mata Hari  • Isis  • the Queen of Sheba  • Elizabeth I  • Florence Owens Thompson

A woman (/ˈwʊmən/), pl: women (/ˈwɪmɨn/) is a female human. The term woman is usually reserved for an adult, with the term girl being the usual term for a female child or adolescent. However, the term woman is also sometimes used to identify a female human, regardless of age, as in phrases such as "Women's rights". Unlike men, women are typically capable of giving birth.

Etymology[link]

The Old English wifman meant "female human" (werman meant "male human". Man or mann had a gender neutral meaning of "human", corresponding to Modern English "one" or "someone". However in around 1000AD "man" started to be used more to refer to "male human", and in the late 1200s began to inevitably displace and eradicate the original word "werman").^[1] The medial labial consonants coalesced to create the modern form "woman"; the initial element, which meant "female," underwent semantic narrowing to the sense of a married woman ("wife").

Symbol of the planet and Roman goddess Venus, also used to indicate the female sex.

A very common Indo-European root for woman, *g^wen-, is the source of English queen (Old English cwēn primarily meant woman, highborn or not; this is still the case in Danish, with the modern spelling kvinde, as well as in Swedish kvinna), as well as gynaecology (from Greek γυνή gynē), banshee fairy woman (from Irish bean woman, sí fairy) and zenana (from Persian زن zan). The Latin fēmina, whence female, is likely from the root in fellāre (to suck), referring to breastfeeding.^[2][3]

The symbol for the planet Venus is the sign also used in biology for the female sex. It is a stylized representation of the goddess Venus's hand mirror or an abstract symbol for the goddess: a circle with a small equilateral cross underneath (Unicode: ♀). The Venus symbol also represented femininity, and in ancient alchemy stood for copper. Alchemists constructed the symbol from a circle (representing spirit) above an equilateral cross (representing matter).

Terminology[link]

Aphrodite, a classical image of youthful female beauty in Western art.

Womanhood is the period in a female's life after she has passed through childhood and adolescence, generally age 18. Puberty generally begins at about age 10, followed by menarche at age 12 to 13. Many cultures have rites of passage to symbolize a girl's coming of age, such as confirmation in some branches of Christianity, bat mitzvah in Judaism, or even just the custom of a special celebration for a certain birthday (generally between 12 and 21), like the Quinceañera of Latin America.

The word woman can be used generally, to mean any female human, or specifically, to mean an adult female human as contrasted with girl. The word girl originally meant "young person of either sex" in English;^{[citation needed]} it was only around the beginning of the 16th century that it came to mean specifically a female child. The term girl is sometimes used colloquially to refer to a young or unmarried woman, however during the early 1970s feminists challenged such use because the use of the word to refer to a fully grown woman may cause offence. In particular, previously common terms such as office girl are no longer used. Conversely, in certain cultures which link family honor with female virginity, the word girl is still used to refer to a never-married woman; in this sense it is used in a fashion roughly analogous to the obsolete English maid or maiden. Referring to an unmarried female as a woman may, in such a culture, imply that she is sexually experienced, which would be an insult to her family.

There are various words used to refer to the quality of being a woman. The term "womanhood" merely means the state of being a woman, having passed the menarche; "femininity" is used to refer to a set of supposedly typical female qualities associated with a certain attitude to gender roles; "womanliness" is like "femininity", but is usually associated with a different view of gender roles; "femaleness" is a general term, but is often used as shorthand for "human femaleness"; "distaff" is an archaic adjective derived from women's conventional role as a spinner, now used only as a deliberate archaism; "muliebrity" is a neologism (derived from the Latin) meant to provide a female counterpart of "virility", but used very loosely, sometimes to mean merely "womanhood", sometimes "femininity" and sometimes even as a collective term for women.

History[link]

The earliest women whose names are known were:

• Enheduanna,^[4][5] born c. 2285 BCE, was the high priestess of the temple of the Moon God in the Sumerian city-state of Ur and possibly the first poet and first named author of either gender.^[6]
• Tashlultum, late 24th-early 23rd centuries BCEfl. late 24th-early 23rd centuries BCE, Akkadian queen, wife of Sargon of Akkad, and mother of Enheduanna.^[7][8]
• Kubaba, Puabi - Pre-Sargonic queens in Sumer
• Peseshet, c. 2600 BCE, was a physician in ancient Egypt.^[9][10]
• Merit-Ptah, c. 2700 BCE, also lived in Egypt and is the earliest known female physician and scientist.^[11]
• Merneith, c. 3000 BCE was a consort and a regent of ancient Egypt during the first dynasty. She may have been ruler of Egypt in her own right.^[12][13]
• Neithhotep, c. 3200 BCE, was the wife of Narmer and the first queen of ancient Egypt.^[14][15]

Biology and gender[link]

The human female reproductive system.

Spectral karyotype of a human female.

Woman nursing her infant

In terms of biology, the female sex organs are involved in the reproductive system, whereas the secondary sex characteristics are involved in nurturing children or, in some cultures, attracting a mate. The ovaries, in addition to their regulatory function producing hormones, produce female gametes called eggs which, when fertilized by male gametes (sperm), form new genetic individuals. The uterus is an organ with tissue to protect and nurture the developing fetus and muscle to expel it when giving birth. The vagina is used in copulation and birthing (although the word vagina is often colloquially and incorrectly used for the vulva or external female genitalia, which also includes the labia, the clitoris, and the female urethra). The breast evolved from the sweat gland to produce milk, a nutritious secretion that is the most distinctive characteristic of mammals, along with live birth. In mature women, the breast is generally more prominent than in most other mammals; this prominence, not necessary for milk production, is probably at least partially the result of sexual selection. (For other ways in which men commonly differ physically from women, see Man.)

An imbalance of maternal hormonal levels and some chemicals (or drugs) may alter the secondary sexual characteristics of fetuses. Most women have the karyotype 46,XX, but around one in a thousand will be 47,XXX, and one in 2500 will be 45,X. This contrasts with the typical male karotype of 46,XY; thus, the X and Y chromosomes are known as female and male, respectively. Because humans inherit mitochondrial DNA only from the mother's ovum, genetic studies of the female line tend to focus on mitochondrial DNA.

Biological factors are not sufficient determinants of whether a person considers herself a woman or is considered a woman. Intersex individuals, who have mixed physical and/or genetic features, may use other criteria in making a clear determination. There are also transgender or transsexual women, who were born or physically assigned as male at birth, but identify as women; there are varying social, legal and individual definitions with regard to these issues. (See trans woman.)

Although fewer females than males are born (the ratio is around 1:1.05), due to a longer life expectancy there are only 81 men aged 60 or over for every 100 women of the same age. Women typically have a longer life expectancy than men.^[16] This is due to a combination of factors: genetics (redundant and varied genes present on sex chromosomes in women); sociology (such as not being expected in most countries to perform military service); health-impacting choices (such as suicide or the use of cigarettes, and alcohol); the presence of the female hormone estrogen, which has a cardioprotective effect in premenopausal women; and the effect of high levels of androgens in men. Out of the total human population, there are 101.3 men for every 100 women (source: 2001 World Almanac).

Most women go through menarche and are then able to become pregnant and bear children.^[17] This generally requires internal fertilization of her eggs with the sperm of a man through sexual intercourse, though artificial insemination or the surgical implantation of an existing embryo is also possible (see reproductive technology). The study of female reproduction and reproductive organs is called gynaecology.

There are some diseases that primarily affect women, such as lupus. Also, there are some sex-related illnesses that are found more frequently or exclusively in women, e.g., breast cancer, cervical cancer, or ovarian cancer. Women and men may have different symptoms of an illness and may also respond differently to medical treatment. This area of medical research is studied by gender-based medicine.

During early fetal development, embryos of both sexes appear gender-neutral; the release of hormones is what changes physical appearance male or female. As in cases without two sexes, such as species that reproduce asexually, the gender-neutral appearance is closer to female than to male.

Culture and gender roles[link]

A woman weaving. Textile work has historically been a female occupation in many cultures.

In many prehistoric cultures, women assumed a particular cultural role. In gatherer-hunter societies, women were generally the gatherers of plant foods, small animal foods and fish, while men hunted meat from large animals.

In more recent history, the gender roles of women have changed greatly. Traditionally, middle class women were involved in domestic tasks emphasizing child care. For poorer women, especially working class women, although this often remained an ideal,^[specify] economic necessity compelled them to seek employment outside the home. The occupations that were available to them were, however, lower in pay than those available to men.

As changes in the labor market for women came about, availability of employment changed from only "dirty", long hour factory jobs to "cleaner", more respectable office jobs where more education was demanded, women's participation in the U.S. labor force rose from 6% in 1900 to 23% in 1923. These shifts in the labor force led to changes in the attitudes of women at work, allowing for the revolution which resulted in women becoming career and education oriented.

Movements advocate equality of opportunity for both sexes and equal rights irrespective of gender. Through a combination of economic changes and the efforts of the feminist movement,^[specify] in recent decades women in most societies now have access to careers beyond the traditional homemaker.

Although a greater number of women are seeking higher education, salaries are often claimed to be less than those of men. CBS News claims that in the United States women who are ages 30 to 44 and hold a university degree make only 62 percent of what similarly qualified men do, a lower rate than in all but three of the 19 countries for which numbers are available. The nations with greater inequity in pay are Germany, New Zealand and Switzerland.^[18] However, "A study of the gender wage gap conducted by economist June O' Neill, former director of the Congressional Budget Office, found that women earn 98 percent of what men do when controlled for experience, education, and number of years on the job."^[19] A later CBS News article quoted a U.S. Department of Labor study which stated "This study leads to the unambiguous conclusion that the differences in the compensation of men and women are the result of a multitude of factors and that the raw wage gap should not be used as the basis to justify corrective action. Indeed, there may be nothing to correct. The differences in raw wages may be almost entirely the result of the individual choices being made by both male and female workers."^[20] In 2011, A Wall Street Journal article by Carrie Lukas stated that: "A study of single, childless urban workers between the ages of 22 and 30 found that women earned 8% more than men."^[21]

Education[link]

OECD countries[link]

Education[link]

A female biologist weighs a desert tortoise before release.

The educational gender gap in Organisation for Economic Cooperation and Development (OECD) countries has been reduced over the last 30 years. Younger women today are far more likely to have completed a tertiary qualification: in 19 of the 30 OECD countries, more than twice as many women aged 25 to 34 have completed tertiary education than have women aged 55 to 64. In 21 of 27 OECD countries with comparable data, the number of women graduating from university-level programmes is equal to or exceeds that of men. 15-year-old girls tend to show much higher expectations for their careers than boys of the same age.^[22]

While women account for more than half of university graduates in several OECD countries, they receive only 30% of tertiary degrees granted in science and engineering fields, and women account for only 25% to 35% of researchers in most OECD countries.^[23]

See also[link]

	Gender studies portal
	Feminism portal

• Lady
• Sex assignment
• Trans woman
• Lists of women

Medical:

• Childbirth
• Feminine psychology
• Gender differences
• Obstetrics

Dynamics:

• Femininity
• Feminization (sociology)
• Matriarchy
• Misogyny
• Mitochondrial Eve
• Sexism
• Women in science
• Women in religion

Political:

• Feminism
• Gender studies
• Womyn

References[link]

Further reading[link]

• Chafe, William H., "The American Woman: Her Changing Social, Economic, And Political Roles, 1920–1970", Oxford University Press, 1972. ISBN 0-19-501785-4
• Roget’s II: The New Thesaurus, (Boston: Houghton Mifflin, 2003 3rd edition) ISBN 0-618-25414-5
• McWhorter, John. 'The Uses of Ugliness', The New Republic Online, January 31, 2002. Retrieved May 11, 2005 ["bitch" as an affectionate term]
• McWhorter, John. Authentically Black: Essays for the Black Silent Majority (New York: Gotham, 2003) ISBN 1-59240-001-9 [casual use of "bitch" in ebonics]
• Routledge international encyclopedia of women, 4 vls., ed. by Cheris Kramarae and Dale Spender, Routledge 2000
• Women in world history : a biographical encyclopedia, 17 vls., ed. by Anne Commire, Waterford, Conn. [etc.] : Yorkin Publ. [etc.], 1999–2002

External links[link]

Look up muliebrity in Wiktionary, the free dictionary.

Look up Wikisaurus:woman in Wiktionary, the free dictionary.

Wikimedia Commons has media related to: Women

Wikiquote has a collection of quotations related to: Women

Look up woman in Wiktionary, the free dictionary.

History

• Women's History in America
• A History of Women’s Entrance into Medicine in France studies and digitized texts by the BIUM (Bibliothèque interuniversitaire de médecine et d'odontologie, Paris) see its digital library Medic@.

Religion

• Women and Christianity: representations and practices
• Women in Islam

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.

This article has multiple issues. Please help improve it or discuss these issues on the talk page. It needs additional citations for verification. Tagged since July 2010. Its citation style may be unclear. The references used may be made clearer with a different or consistent style of citation, footnoting or external linking. Tagged since July 2010. It may not represent a worldwide view of the subject. Tagged since December 2009.

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:
May 18: Disco diva Donna Summer dies at 63 April 10: Manson Family leader Charles Manson to seek parole in California murders March 26: San Francisco Museum of Modern Art buys Edward Hopper valued at over $25 million October 22: Canadian actress Barbara Kent dies at age 103

• 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.