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Academy of Motion Picture Arts and Sciences
Headquarters building
Abbreviation	AMPAS
Formation	May 11, 1927
Type	Film organization
Headquarters	Beverly Hills, California, USA
Location	8949 Wilshire Boulevard Beverly Hills, California 90211
Membership	over 6,000
President	Tom Sherak
Website	www.oscars.org

The Academy of Motion Picture Arts and Sciences (AMPAS) is a professional honorary organization dedicated to the advancement of the arts and sciences of motion pictures. The Academy's corporate management and general policies are overseen by a Board of Governors, which includes representatives from each of the craft branches.

The Academy is composed of over 6,000 motion picture professionals. While the great majority of its members are based in the United States, membership is open to qualified filmmakers around the world.

The Academy is known around the world for its annual Academy Awards, informally known as the "Oscars". In addition, the Academy gives Student Academy Awards annually to filmmakers at the undergraduate and graduate level; awards up to five Nicholl Fellowships in Screenwriting annually; and operates the Margaret Herrick Library (at the Fairbanks Center for Motion Picture Study) in Beverly Hills, California and the Pickford Center for Motion Picture Study in Hollywood, Los Angeles, California.

The current president of the Academy is Tom Sherak.^[1]

History[link]

The notion of the Academy of Motion Pictures Arts and Sciences (AMPAS) began with Louis B. Mayer, head of Metro-Goldwyn-Mayer (MGM). He wanted to create an organization that would mediate labor disputes and improve the industry’s image. So, on a Sunday evening, Mayer and three other studio big-wigs - actor Conrad Nagel, director Fred Niblo, and the head of the Association of Motion Picture Producers, Fred Beetson - sat down and discussed these matters. The idea of this elite club having an annual banquet was tossed around, but there was no mention of awards just yet. They also established that membership into the organization would only be open to people involved in one of the five branches of the industry: actors, directors, writers, technicians, and producers.^[2]

After their brief meeting, Mayer gathered up a group of thirty-six people involved in the film industry and invited them to a formal banquet at the Ambassador Hotel in Los Angeles on January 11, 1927.^[3] That evening Mayer presented to those guests what he called the American Academy of Motion Picture Arts and Sciences, and it was open to those who had contributed to the motion picture industry. Everyone in the room that evening became a founder of the Academy. It wasn’t until later, when Mayer’s lawyers wrote up the charter, did the name change to "Academy of Motion Picture Arts and Sciences".^[2]

Douglas Fairbanks, Sr. was elected as the first president of the Academy. As one of his first acts, he added an activity of bestowing “awards of merit for distinctive achievement.” However, they were on the brink of forming something historical. A year later the voting system for the Awards was established, and the nomination and selection process began.^[4] This "award of merit for distinctive achievement" is what we know now as the Academy Award.

In 1929, the Academy, in a joint venture with the University of Southern California, created America's first film school to further the art and science of moving pictures. The School’s founding faculty included Fairbanks (President of the Academy), D. W. Griffith, William C. deMille, Ernst Lubitsch, Irving Thalberg, and Darryl F. Zanuck.

In 2009 the inaugural Governors Awards were held, at which the Academy awards the Academy Honorary Award and the Irving G. Thalberg Memorial Award.

Galleries and theaters[link]

Fairbanks Center for Motion Picture Study building on La Cienega Boulevard in Beverly Hills, California

Pickford Center for Motion Picture Study in the Hollywood district

The Academy’s numerous and diverse operations are housed in three facilities in the Los Angeles area: the headquarters building in Beverly Hills, which was constructed specifically for the Academy, and two Centers for Motion Picture Study – one in Beverly Hills, the other in Hollywood – which were existing structures restored and transformed to contain the Academy’s Library, Film Archive and other departments and programs.

The Academy's main building in Beverly Hills houses two galleries that are open free to the public. The Grand Lobby Gallery and the Fourth Floor Gallery offer changing exhibits related to films, film-making and film personalities.

The Samuel Goldwyn Theater seats 1,012, and was designed to present films at maximum technical accuracy, with state-of-the-art projection equipment and sound system. Located in the headquarters building, the theater is busy year-round with the Academy's public programming, members-only screenings, movie premieres and other special activities (including the live television broadcast of the Academy Awards nominations announcement every January).

The Academy Little Theater is a 67-seat screening facility also located at the Academy's headquarters in Beverly Hills.

The Linwood Dunn Theater is located at the Academy’s Pickford Center for Motion Picture Study in Hollywood and seats 286 people.

The Academy also has a New York-based East Coast showcase theater, the Academy Theater at Lighthouse International. The 220-seat venue was redesigned in 2011 by renowned theater designer, Theo Kalomirakis, including an extensive installation of new audio and visual equipment. The theater is in the East 59th Street headquarters of the non-profit vision loss organization, Lighthouse International.^[5]

Membership[link]

Membership in the Academy is by invitation only. Invitation comes from the Board of Governors. Membership eligibility may be achieved by earning a competitive Oscar nomination or an existing member may submit a name based on other significant contribution to the field of motion pictures.

New membership proposals are considered annually. The Academy does not publicly disclose its full membership, although press releases have announced the names of those who have recently been invited to join. Membership in the Academy does not expire, even if a member struggles later in his or her career.^[6]

Academy membership is divided into 15 branches, representing different disciplines in motion pictures. Members may not belong to more than one branch. Members whose work does not fall within one of the branches may belong to a group known as "Members At Large." Members at Large have all the privileges of branch membership except for representation on the Board. Associate members are those closely allied to the industry but not actively engaged in motion picture production. They are not represented on the Board and do not vote on Academy Awards.

According to a February 2012 study conducted by the Los Angeles Times (sampling over 5,000 of its 5,765 members), the Academy is 94% white, 77% male, 14% under the age of 50, and has a median age of 62. 33% of members are previous winners or nominees of Academy Awards themselves.^[7]

Members are able to see many new films for free at the Samuel Goldwyn Theater and other facilities within two weeks of their debut, and sometimes before release.^[8]

Academy Branches

Original 36 founders of the Academy[link]

Presidents of the Academy[link]

Presidents are elected for one-year terms and may not be elected for more than four consecutive terms.

Current administration of the Academy[link]

Academy Officers 2011-2012

• President – Tom Sherak
• First Vice President – Hawk Koch
• Vice President – Robert Rehme
• Vice President – Phil Alden Robinson
• Treasurer – John Lasseter
• Secretary – Annette Bening

Board of Governors 2011-2012

See also[link]

• Academy Awards
• Governors Awards
• Academy Film Archive
• Academy of Motion Picture Arts and Sciences of Argentina Awards
• Academy of Television Arts & Sciences
• American Academy of Arts and Sciences
• American Film Institute
• Motion Picture Association of America
• National Film Registry

Notes and references[link]

External links[link]

• Academy of Motion Picture Arts and Sciences
• The Official Academy Awards Database of Winners and Nominees
• Margaret Herrick Library
• Pickford Center for Motion Picture Study - Academy Film Archive
• The Oscars at YouTube (operated by the Academy of Motion Picture Arts and Sciences)
• Hollywood Is A Union Town, The Nation, 2 April 1938, history of the Academy and Screen Actors Guild

This article's use of external links may not follow Wikipedia's policies or guidelines. Please improve this article by removing excessive or inappropriate external links, and converting useful links where appropriate into footnote references. (September 2011)

An academy (Greek Ἀκαδημία) is an institution of higher learning, research, or honorary membership. The name traces back to Plato's school of philosophy, founded approximately 385 BC at Akademia, a sanctuary of Athena, the goddess of wisdom and skill, north of Athens, Greece.

The School of Athens, fresco by Raphael (1509–1510), of an idealized Academy.

In the western world academia is the commonly used term for the collective institutions of higher learning.

The original Academy[link]

Before Akademia was a school, and even before Cimon enclosed its precincts with a wall,^[1] it contained a sacred grove of olive trees dedicated to Athena, the goddess of wisdom, outside the city walls of ancient Athens.^[2] The archaic name for the site was Hekademia, which by classical times evolved into Akademia and was explained, at least as early as the beginning of the 6th century BC, by linking it to an Athenian hero, a legendary "Akademos". The site of Akademia was sacred to Athena and other immortals.

Plato's immediate successors as "scholarch" of Akademia were Speusippus (347–339 BC), Xenocrates (339–314 BC), Polemon (314–269 BC), Crates (ca. 269–266 BC), and Arcesilaus (ca. 266–240 BC). Later scholarchs include Lacydes of Cyrene, Carneades, Clitomachus, and Philo of Larissa ("the last undisputed head of the Academy").^[3][4] Other notable members of Akademia include Aristotle, Heraclides Ponticus, Eudoxus of Cnidus, Philip of Opus, Crantor, and Antiochus of Ascalon.

The Neoplatonic Academy of Late Antiquity[link]

After a lapse during the early Roman occupation, Akademia was refounded^[5] as a new institution of some outstanding Platonists of late antiquity who called themselves "successors" (diadochoi, but of Plato) and presented themselves as an uninterrupted tradition reaching back to Plato. However, there cannot have actually been any geographical, institutional, economic or personal continuity with the original Academy in the new organizational entity.^[6]

The last "Greek" philosophers of the revived Akademia in the 6th century were drawn from various parts of the Hellenistic cultural world and suggest the broad syncretism of the common culture (see koine): Five of the seven Akademia philosophers mentioned by Agathias were Syriac in their cultural origin: Hermias and Diogenes (both from Phoenicia), Isidorus of Gaza, Damascius of Syria, Iamblichus of Coele-Syria and perhaps even Simplicius of Cilicia.^[6]

The emperor Justinian closed the school in AD 529, a date that is often cited as the end of Antiquity. According to the sole witness, the historian Agathias, its remaining members looked for protection under the rule of Sassanid king Khosrau I in his capital at Ctesiphon, carrying with them precious scrolls of literature and philosophy, and to a lesser degree of science. After a peace treaty between the Persian and the Byzantine empire in 532 guaranteed their personal security (an early document in the history of freedom of religion), some members found sanctuary in the pagan stronghold of Harran, near Edessa. One of the last leading figures of this group was Simplicius, a pupil of Damascius, the last head of the Athenian school.

It has been speculated that Akademia did not altogether disappear.^[6][7] After his exile, Simplicius (and perhaps some others), may have travelled to Harran, near Edessa. From there, the students of an Academy-in-exile could have survived into the 9th century, long enough to facilitate the Arabic revival of the Neoplatonist commentary tradition in Baghdad.^[7]

Renaissance academies[link]

With the Neoplatonist revival that accompanied the revival of humanist studies, accademia took on newly vivid connotations.

During the Florentine Renaissance, Cosimo de' Medici took a personal interest in the new Platonic Academy that he determined to re-establish in 1439, centered on the marvellous promise shown by the young Marsilio Ficino. Cosimo had been inspired by the arrival at the otherwise ineffective Council of Florence of Gemistos Plethon, who seemed a dazzling figure to the Florentine intellectuals.^{[citation needed]} In 1462 Cosimo gave Ficino a villa at Careggi for the Academy's use, situated where Cosimo could see it from his own villa, and drop by for visits. The academy remained a wholly informal group, but one which had a great influence on Renaissance Neo-Platonism.

In Rome, after unity was restored following the Western Schism, humanist circles, cultivating philosophy and searching out and sharing ancient texts tended to gather where there was access to a library. The Vatican Library was not coordinated until 1475 and was never catalogued or widely accessible: not all popes looked with satisfaction at gatherings of unsupervised intellectuals. At the head of this movement for renewal in Rome was Cardinal Bessarion, whose house from the mid-century was the centre of a flourishing academy of Neoplatonic philosophy and a varied intellectual culture. His valuable Greek as well as Latin library (eventually bequeathed to the city of Venice after he withdrew from Rome) was at the disposal of the academicians. Bessarion, in the latter years of his life, retired from Rome to Ravenna, but he left behind him ardent adherents of the classic philosophy.

The next generation of humanists were bolder admirers of pagan culture, especially in the highly personal academy of Pomponius Leto, the natural son of a nobleman of the Sanseverino family, born in Calabria but known by his academic name, who devoted his energies to the enthusiastic study of classical antiquity, and attracted a great number of disciples and admirers. He was a worshipper not merely of the literary and artistic form, but also of the ideas and spirit of classic paganism, which made him appear a condemner of Christianity and an enemy of the Church. In his academy every member assumed a classical name. Its principal members were humanists, like Bessartion's protégé Giovanni Antonio Campani (Campanus), Bartolomeo Platina, the papal librarian, and Filippo Buonaccorsi, and young visitors who received polish in the academic circle, like Publio Fausto Andrelini of Bologna who took the New Learning to the University of Paris, to the discomfiture of his friend Erasmus. In their self-confidence, these first intellectual neopagans compromised themselves politically, at a time when Rome was full of conspiracies fomented by the Roman barons and the neighbouring princes: Paul II (1464–71) caused Pomponio and the leaders of the academy to be arrested on charges of irreligion, immorality, and conspiracy against the Pope. The prisoners begged so earnestly for mercy, and with such protestations of repentance, that they were pardoned. The Letonian academy, however, collapsed.^[8]

In Naples, the Quattrocento academy founded by Alfonso of Aragon and guided by Antonio Beccadelli was the Porticus Antoniana, later known as the Pontaniana, after Giovanni Pontano.

[edit] Sixteenth-century accademie in Italy

The sixteenth century saw at Rome a great increase of literary and aesthetic academies, more or less inspired by the Renaissance, all of which assumed, as was the fashion, odd and fantastic names. We learn from various sources the names of many such institutes; as a rule, they soon perished and left no trace. In the 1520s came the Accademia degl' Intronati, for the encouragement of theatrical representations. There were also the Academy of the "Vignaiuoli", or "Vinegrowers" (1530), and the Accademia della Virtù (1538), founded by Claudio Tolomei under the patronage of Cardinal Ippolito de' Medici. These were followed by a new academy in the "Orti" or Farnese gardens. There were also the academies of the "Intrepidi" (1560), the "Animosi" (1576), and the "Illuminati" (1598); this last, founded by the Marchesa Isabella Aldobrandini Pallavicino. Towards the middle of the sixteenth century there were also the Academy of the "Notti Vaticane", or "Vatican Nights", founded by St. Charles Borromeo; an "Accademia di Diritto civile e canonico", and another of the university scholars and students of philosophy (Accademia Eustachiana). In the seventeenth century we meet with similar academies; the "Umoristi" (1611), the "Fantastici (1625), and the "Ordinati", founded by Cardinal Dati and Giulio Strozzi. About 1700 were founded the academies of the "Infecondi", the "Occulti", the "Deboli", the "Aborigini", the "Immobili", the "Accademia Esquilina", and others. As a rule these academies, all very much alike, were merely circles of friends or clients gathered around a learned man or wealthy patron, and were dedicated to literary pastimes rather than methodical study. They fitted in, nevertheless, with the general situation and were in their own way one element of the historical development. Despite their empirical and fugitive character, they helped to keep up the general esteem for literary and other studies. Cardinals, prelates, and the clergy in general were most favourable to this movement, and assisted it by patronage and collaboration.

During the course of the following century and a half many Italian cities established a philosophical and scientific academy, some of which became the national academies of pre-unitarian states: the Academy of Accesi became the Panomitan Academy of Buon Gusto; the Academy of Timidi became the Royal Academy of Mantua; the Accademia dei Ricovrati became the Galileiana Academy of Arts and Science; the Academy of Dissonanti became the Royal Academy of Modena and the Academy of Oscuri became the Royal Academy of Lucca.

Seventeenth- and Eighteenth-century academies in Europe[link]

Gradually academies began to specialize on particular topics (arts, language, sciences) and began to be founded and funded by the kings and other sovereigns (few republics had an academy). And, mainly, since XVIIth century academies spread throughout Europe.

Academies of the arts[link]

In Florence, the Medici again took the lead in establishing the Accademia di Belle Arti Firenze in 1563, the first of the more formally organised art academies that gradually displaced the medieval artists' guilds, usually known as the Guild of Saint Luke, as the bodies responsible for training and often regulating artists, a change with great implications for the development of art, leading to the styles known as Academic art. The private Accademia degli Incamminati set up later in the century in Bologna by the Carracci brothers was also extremely influential, and with the Accademia di San Luca of Rome (founded 1593) helped to confirm the use of the term for these institutions.

The Académie de peinture et de sculpture in Paris, established by the monarchy in 1648 (later renamed) was the most significant of the artistic academies, running the famous Salon exhibitions from 1725. Artistic academies were established all over Europe by the end of the 18th century, and many, like the Akademie der Künste in Berlin (founded 1696), the Real Academia de Bellas Artes de San Fernando in Madrid (founded 1744), the Imperial Academy of Arts in Saint Petersburg (1757), the Royal Academy in London (1768) and the Accademia di Belle Arti di Brera in Milan (1776) still run art schools and hold large exhibitions, although their influence on taste greatly declined from the late 19th century.

A fundamental feature of academic discipline in the artistic academies was regular practice in making accurate drawings from antiquities, or from casts of antiquities, on the one hand, and on the other, in deriving inspiration from the other fount, the human form. Students assembled in sessions drawing the draped and undraped human form, and such drawings, which survive in the tens of thousands from the 17th through the 19th century, are termed académies in French.

Similar institutions were often established for other arts: Rome had the Accademia di Santa Cecilia for music from 1585; Paris had the Académie Royale de Musique from 1669 and the Académie d'architecture from 1671.

Linguistic academies[link]

In 1582 five florentine literati gathered and founded the Accademia della Crusca to demonstrate and to conserve the beauty of the Florentine vulgar tongue, modelled upon the authors of the Trecento. The main istrument to do that was the Vocabolario degli accademici della Crusca. The Crusca remained for long a private institution, criticizing and opposing the official Accademia Fiorentina.

The first institution inspired by the Crusca was the Fruitbearing Society for German language, which existed from 1617 to 1680.

The Crusca inspired Richelieu to found in 1634 the analogous Académie française with the task of acting as an official authority on the French language, charged with publishing the official dictionary of that language. The following year the Académie received letters patent from the king Louis XIII as the only recognized academy for French language.

In its turn the state established Académie was the model for the Real Academia Española (founded in 1713) and the Swedish Academy (1786), which are the ruling bodies of their respective languages and editors of major dictionaries. It also was the model for the Russian Academy,founded in 1783, which afterwards merged into the Russian Academy of Sciences.

Academies of sciences[link]

After the short-lived Academia Secretorum Naturae of Naples, the first academy exclusively devoted to sciences was the Accademia dei Lincei founded in 1603 in Rome, particuralily focused on natural sciences. In 1657 some students of Galileo founded the Accademia del Cimento (Academy of Experiment) in Florence, focused on physics and astronomy. The foundation of Academy was funded by Prince Leopoldo and Grand Duke Ferdinando II de' Medici. This academy lasted after few decades.

In 1652 was founded the Academia Naturae Curiosorum by four physicians.^[9] In 1677, Leopold I, emperor of the Holy Roman Empire, recognised the society and in 1687 he gave it the epithet Leopoldina, with which is internationally famous.^{[10], p. 7–8; [11]} So, it became the academy of sciences for the whole Holy Roman Empire.

On 28 November 1660, a group of scientists from and influenced by the Invisible College (gathering approximately since 1645) met at Gresham College and announced the formation of a "College for the Promoting of Physico-Mathematical Experimental Learning", which would meet weekly to discuss science and run experiments. In 1662 Charles II of England signed a Royal Charter which created the "Royal Society of London", then "Royal Society of London for the Improvement of Natural Knowledge".

In 1666 Colbert gathered a small group of scholars to found a scientific society in Paris. The first 30 years of the Academy's existence were relatively informal, since no statutes had as yet been laid down for the institution. In contrast to Royal Society, the Academy was founded as an organ of government. In 1699, Louis XIV gave the Academy its first rules and named it Académie royale des sciences.

Although Prussia was a member of Holy Roman Empire, in 1700 Prince-elector Frederick III of Brandenburg founded its own Prussian Academy of Sciences upon the advice of Gottfried Leibniz, who was appointed president.

During XVIIIth century many European kings followed and founded their own academy of sciences: in 1714 in Bologna, in 1724 the Russian Academy of Sciences, in 1731 the Royal Dublin Society, in 1735 in Tuscany, in 1739 the Royal Swedish Academy of Sciences, in 1742 the Royal Danish Academy of Sciences and Letters, in 1751 the Gottingen Academy of Sciences, in 1754 in Erfurt, in 1759 the Bavarian Academy of Sciences and Humanities, in 1763 the Academia Theodoro-Palatina in Heidelberg, in 1779 the Sciences Academy of Lisbon, in 1783 the Royal Society of Edinburgh, in 1782 the Accademia Nazionale delle Scienze, in 1784 in Turin.

This kind of academy lost importance after the university reform begun with the foundation of the University of Berlin, when universities were provided with laboratories and clinics, and were charged with doing experimental research.

Military academies[link]

Obviously, Military Academies were established by the kings since their origin.
The first of such institutions only trained the Artillery and Military Engineering officiers, like the Aula da Artilharia (founded in 1641) and the Aula de Fortificação (1647) in Lisbon, the Real Accademia di Savoia in Turin (opened in 1678), the Imperial Artillery Military Academy of Saint Petersburg (1698), the Royal Military Academy Woolwich (1741), the Real Colegio de Artilleria in Segovia (1764).

Starting at the end of sixteenth century in the Holy Roman Empire, France, Poland and Denmark, many Knight academies were established to prepare the aristocratic youth for state and military service. Many of them lately turned into gymnasiums, but some of them were transformed into true military academies.
The Royal Danish Army Officers Academy began to educate all officers for the Royal Danish Army by request of King Frederick IV in 1713.
The École Militaire was founded by Louis XV of France in 1750 with the aim of creating an academic college for cadet officers from poor families. The construction began in 1752, but the school did not open until 1760.
The Theresian Military Academy was founded on 14 December 1751 by Maria Theresa of Austria. Per year the Academy accepted 100 noblemen and 100 commoners to start their education there.^[12]
These were the model for the subsequent military academies throughout Europe, like the Reale Accademia Militare of Naples in 1787 and the Military Academy Karlberg in 1792.

[edit] Modern use of the term academy

National academies are bodies for scientists, artists or writers that are usually state-funded and often are given the role of controlling much of the state funding for research into their areas, or other forms of funding. Some use different terms in their name - the British Royal Society for example. The membership typically comprises distinguished individuals in the relevant field, who may be elected by the other members, or appointed by the government. They are essentially not schools or colleges, though some may operate teaching arms. The Académie Française was the most influential pattern for these.

The Academy of Motion Picture Arts and Sciences, which presents the annual Academy Awards, is an example of a purely industry body using the name. College-type specialized academies include the Royal Academy of Music of the United Kingdom; the United States Military Academy at West Point, New York; the United States Naval Academy; United States Air Force Academy; and the Australian Defence Force Academy. In emulation of the military academies, police in the United States are trained in police academies.

Because of the tradition of intellectual brilliance associated with this institution, many groups have chosen to use the word "academy" in their name, especially specialized tertiary educational institutions. In the early 19th century "academy" took the connotations that "gymnasium" was acquiring in German-speaking lands, of school that was less advanced than a college (for which it might prepare students) but considerably more than elementary. Early American examples are the prestigious preparatory schools of Phillips Andover Academy, Phillips Exeter Academy and Deerfield Academy. In England, "academy" had a specialized meaning for schools, but the Edinburgh Academy was more like the American examples. Academy was also used very loosely for various commercial training schools for dancing and the like.

Mozart organized public subscription performances of his music in Vienna in the 1780s and 1790s, he called the concerts "academies." This usage in musical terms survives in the concert orchestra Academy of St Martin in the Fields and in the Brixton Academy, a concert hall in Brixton, South London.

Academies proliferated in the 20th century until even a three-week series of lectures and discussions would be termed an "academy." In addition, the generic term "the academy" is sometimes used to refer to all of academia, which is sometimes considered a global successor to the Academy of Athens.

French regional academies overseeing education[link]

In France, regional academic councils called academies are responsible for supervising all aspects of education in their region. The academy regions are similar to, but not identical to, the standard French administrative regions. the rector of each academy is a revocable nominee of the Ministry of Education. These academies' main responsibility is overseeing primary and secondary education, but public universities are in some respects also answerable to the academy for their region. However, French private universities are independent of the state and therefore independent of the regional academies.

Russian research academies[link]

In Imperial Russia and Soviet Union the term "academy", or Academy of Sciences was reserved to denote a state research establishment, see Russian Academy of Sciences. The latter one still exists in Russia, although other types of academies (study and honorary) appeared as well.

English school types[link]

From the mid-seventeenth to the nineteenth centuries, educational institutions in England run by nonconformist groups that did not agree with the Church of England teachings were collectively known as "the dissenting academies". As a place at an English public school or university generally required conformity to the Church of England, these institutions provided an alternative for those with different religious views and formed a significant part of England’s educational system.

University College London (UCL) was founded in 1826 as the first publicly funded English university to admit anyone regardless of religious adherence; and the Test and Corporation Acts, which had imposed a wide range of restrictions on citizens who were not in conformity to the Church of England, were abolished shortly afterwards, by the Catholic Relief Act of 1829.

In 2000, a form of "independent state schools", called "academies", were introduced in England. They have been compared to US charter schools.^[13] They are directly funded from central government rather than through local councils, and are partly privately sponsored. Often the sponsors are from business, but some are sponsored by universities and charities. These schools have greater autonomy than schools run by the local councils. They are usually a type of secondary school, but some are "all through" schools with an integral primary school. Some of the early ones were briefly known as "city academies"—the first such school opening on 10 September 2002 at the Business Academy Bexley.^[14]

The Queen's Speech, which followed the 2010 UK General Election, included proposals for a bill to allow the Secretary of State for Education to approve schools, both Primary and Secondary, that have been graded "outstanding" by Ofsted, to become academies. This will be through a simplified streamlined process which will not require the sponsors to provide capital funding.^[15]

In 2012, the English government began forcing some schools which had been graded satisfactory or lower into becoming academies, unilaterally removing existing governing bodies and head teachers in some cases. An example was Downhills Primary School in Haringey, where the head teacher refused to turn the school into an academy. OFSTED were called in to assess the school, failed it, and both the head and the governing body were removed and replaced with a Government-appointed board despite opposition from the school and parents.^[16][17]

In Scotland, where there is not a set name for secondary schools, a quarter of the secondary schools have the word "academy" in their name.

See also[link]

References[link]

Further reading[link]

• Alan Cameron, "The last days of the Academy at Athens," in Proceedings of the Cambridge Philological Society vol 195 (n.s. 15), 1969, pp 7–29.
• Gerald Bechtle, Bryn Mawr Classical Review of Rainer Thiel, Simplikios und das Ende der neuplatonischen Schule in Athen. Stuttgart, 1999 (in English).
• John Glucker, Antiochus and the Late Academy, Göttingen 1978.
• Francis Haskell and Nicholas Penny, 1981. Taste and the Antique: The Lure of Classical Sculpture, 1500–1900 (New Haven: Yale University Press)

External links[link]

Plato's Academy[link]

• Academy of Plato – MacTutor
• Atlas of Ancient and Classical Geography (Project Gutenberg) see Athens & Syracuse map – by Samuel Butler
• Christopher Planeaux' history of the site of the Academy
• Plato's Academy, from the Hellenic Ministry of Culture
• Map of ancient Athens with location of the Academy
• Site of the Academy rediscovered (needs better site linked)
• The Academy, from the Internet Encyclopedia of Philosophy

Modern institutions[link]

• The Academy, a summer school run by the Institute of Ideas, "aiming to remind us just what universities should be like and to demonstrate the importance of scholarship through an examination of subjects in depth"
• Slavic Greek Latin Academy
• Academy Burg Fürsteneck German academy for vocational and cultural education in the castel Burg Fürsteneck
• The Academy Buckley Dance School
• Academy Drama School website
• Academy of Athens, official website of the modern institution
• Ardennes Outdoor Academy of the Thierry Graduate School of Leadership
• Department for Education – Academies webpages
• Digital Media Academy
• Film Academy
• Geneva Academy of International Humanitarian Law and Human Rights
• Royal Academy of Music, London
• The Academy at Charlemont
• iD Programming Academy
• The Jewish Academy
• The United States Air Force Academy
• Worcester Academy, Wikipedia page: Worcester Academy
• Deerfield Academy
• Database of the Italian Academies at the British Library
• Academy for Self-improvement
• Website of the Italian Academies 1525-1700 Project
• The Northumberland Church of England Academy

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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]