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

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

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

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

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

History[link]

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

Preceding film in origin by thousands of years, early plays and dances had elements common to film: scripts, sets, costumes, production, direction, actors, audiences, storyboards, and scores. Much terminology later used in film theory and criticism apply, such as mise en scene (roughly, the entire visual picture at any one time). Owing to an absence of technology for doing so, moving visual and aural images were not recorded for replaying as in film.

In the 1860s, mechanisms for producing two-dimensional drawings in motion were demonstrated with devices such as the zoetrope, mutoscope and praxinoscope. These machines were outgrowths of simple optical devices (such as magic lanterns) and would display sequences of still pictures at sufficient speed for the images on the pictures to appear to be moving, a phenomenon called persistence of vision. Naturally the images needed to be carefully designed to achieve the desired effect, and the underlying principle became the basis for the development of film animation.

With the development of celluloid film for still photography, it became possible to directly capture objects in motion in real time. An 1878 experiment by English photographer Eadweard Muybridge in the United States using 24 cameras produced a series of stereoscopic images of a galloping horse, is arguably the first "motion picture", though it was not called by this name.^[1] This technology required a person to look into a viewing machine to see the pictures which were separate paper prints attached to a drum turned by a handcrank. The pictures were shown at a variable speed of about 5 to 10 pictures per second, depending on how rapidly the crank was turned. Commercial versions of these machines were coin operated.

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

By the 1880s the development of the motion picture camera allowed the individual component images to be captured and stored on a single reel, and led quickly to the development of a motion picture projector to shine light through the processed and printed film and magnify these "moving picture shows" onto a screen for an entire audience. These reels, so exhibited, came to be known as "motion pictures". Early motion pictures were static shots that showed an event or action with no editing or other cinematic techniques. The first public exhibition of projected motion pictures in America was shown at Koster and Bial's Music Hall in New York City on the 23rd of April 1896.

Ignoring W. K. L. Dickson's early sound experiments (1894), commercial motion pictures were purely visual art through the late 19th century, but these innovative silent films had gained a hold on the public imagination. Around the turn of the 20th century, films began developing a narrative structure by stringing scenes together to tell a story. The scenes were later broken up into multiple shots of varying sizes and angles. Other techniques such as camera movement were realized as effective ways to portray a story on film. Rather than leave the audience with noise of early cinema projectors, theater owners would hire a pianist or organist or a full orchestra to play music that would cover noises of projector. Eventually, musicians would start to fit the mood of the film at any given moment. By the early 1920s, most films came with a prepared list of sheet music for this purpose, with complete film scores being composed for major productions.

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

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

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

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

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

Theory[link]

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

Language[link]

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

Montage[link]

Parallels to musical counterpoint have been developed into a theory of montage, extended from the complex superimposition of images in early silent film^{[citation needed]} to even more complex incorporation of musical counterpoint together with visual counterpoint through mise en scene and editing, as in a ballet or opera; e.g., as illustrated in the gang fight scene of director Francis Ford Coppola’s film, Rumble Fish.

Criticism[link]

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

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

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

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

Industry[link]

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

The making and showing of motion pictures became a source of profit almost as soon as the process was invented. Upon seeing how successful their new invention, and its product, was in their native France, the Lumières quickly set about touring the Continent to exhibit the first films privately to royalty and publicly to the masses. In each country, they would normally add new, local scenes to their catalogue and, quickly enough, found local entrepreneurs in the various countries of Europe to buy their equipment and photograph, export, import and screen additional product commercially. The Oberammergau Passion Play of 1898^{[citation needed]} was the first commercial motion picture ever produced. Other pictures soon followed, and motion pictures became a separate industry that overshadowed the vaudeville world. Dedicated theaters and companies formed specifically to produce and distribute films, while motion picture actors became major celebrities and commanded huge fees for their performances. By 1917 Charlie Chaplin had a contract that called for an annual salary of one million dollars.

From 1931 to 1956, film was also the only image storage and playback system for television programming until the introduction of videotape recorders.

In the United States today, much of the film industry is centered around Hollywood. Other regional centers exist in many parts of the world, such as Mumbai-centered Bollywood, the Indian film industry's Hindi cinema which produces the largest number of films in the world.^[2] Whether the ten thousand-plus feature length films a year produced by the Valley pornographic film industry should qualify for this title is the source of some debate.^{[citation needed]} Though the expense involved in making movies has led cinema production to concentrate under the auspices of movie studios, recent advances in affordable film making equipment have allowed independent film productions to flourish.

Profit is a key force in the industry, due to the costly and risky nature of filmmaking; many films have large cost overruns, a notorious example being Kevin Costner's Waterworld. Yet many filmmakers strive to create works of lasting social significance. The Academy Awards (also known as "the Oscars") are the most prominent film awards in the United States, providing recognition each year to films, ostensibly based on their artistic merits.

There is also a large industry for educational and instructional films made in lieu of or in addition to lectures and texts.

Associated fields[link]

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

Terminology used[link]

Although the words "film" and "movie" are sometimes used interchangeably, "film" is more often used when considering artistic, theoretical, or technical aspects, as studies in a university class and "movies" more often refers to entertainment or commercial aspects, as where to go for fun on a date. For example, a book titled "How to Read a Film" would be about the aesthetics or theory of film, while "Lets Go to the Movies" would be about the history of entertaining movies. "Motion pictures" or "Moving pictures" are films and movies. A "DVD" is a digital format which may be used to reproduce an analog film, while "videotape" ("video") was for many decades a solely analog medium onto which moving images could be recorded and electronically (rather than optically) reproduced. Strictly speaking, "Film" refers to the media onto which a visual image is shot, and to this end it may seem improper for work in other "moving image" media to be referred to as a "film" and the action of shooting as "filming", though these terms are still in general use. "Silent films" need not be silent, but are films and movies without an audible dialogue, though they may have a musical soundtrack. "Talkies" refers to early movies or films having audible dialogue or analog sound, not just a musical accompaniment. "Cinema" either broadly encompasses both films and movies, or is roughly synonymous with "Film", both capitalized when referring to a category of art. The "silver screen" refers to classic black-and-white films before color, not to contemporary films without color.

The expression "Sight and Sound", as in the film journal of the same name, means "film". The following icons mean film: a "candle and bell", as in the films Tarkovsky, of a segment of film stock, or a two faced Janus image, and an image of a movie camera in profile.

"Widescreen" and "Cinemascope" refers to a larger width to height in the frame, compared to an earlier historic aspect ratios.^[3] A "feature length film", or "feature film", is of a conventional full length, usually 60 minutes or more, and can commercially stand by itself without other films in a ticketed screening.^[4] A "short" is a film that is not as long as a feature length film, usually screened with other shorts, or preceding a feature length film. An "independent" is a film made outside of the conventional film industry.

A "screening" or "projection" is the projection of a film or video on a screen at a public or private theater, usually but not always of a film, but of a video or DVD when of sufficient projection quality. A "double feature" is a screening of two independent, stand-alone, feature films. A "viewing" is a watching of a film. A "showing" is a screening or viewing on an electronic monitor. "Sales" refers to tickets sold at a theater, or more currently, rights sold for individual showings. A "release" is the distribution and often simultaneous screening of a film. A "preview" is a screening in advance of the main release.

"Hollywood" may be used either as a pejorative adjective, shorthand for asserting an overly commercial rather than artistic intent or outcome, as in "too Hollywood", or as a descriptive adjective to refer to a film originating with people who ordinarily work near Los Angeles.

Expressions for Genres of film are sometimes used interchangeably for "film" in a specific context, such as a "porn" for a film with explicit sexual content, or "cheese" for films that are light, entertaining and not highbrow.

Any film may also have a "sequel", which portrays events following those in the film. Bride of Frankenstein is an early example. When there are a number of films with the same characters, we have a "series", such as the James Bond series. A film which portrays events that occur earlier than those in another film, but is released after that film, is sometimes called a "prequel", an example being Butch and Sundance: The Early Days.

Credits is a list of the people involved in making the film. Before the 1970s, credits were usually at the beginning of a film. Since then, the credits roll at the end of most films.

A Post-credits scene is a scene shown after the end of the credits. Ferris Bueller's Day Off has a post-credit scene in which Ferris tells the audience that the movie is over and they should go home.

Preview[link]

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

Trailer[link]

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

Film, or other art form?[link]

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

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

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

Education and propaganda[link]

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

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

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

Production[link]

At its core, the means to produce a film depend on the content the filmmaker wishes to show, and the apparatus for displaying it: the zoetrope merely requires a series of images on a strip of paper. Film production can therefore take as little as one person with a camera (or without it, such as Stan Brakhage's 1963 film Mothlight), or thousands of actors, extras and crewmembers for a live-action, feature-length epic.

The necessary steps for almost any film can be boiled down to conception, planning, execution, revision, and distribution. The more involved the production, the more significant each of the steps becomes. In a typical production cycle of a Hollywood-style film, these main stages are defined as:

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

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

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

Crew[link]

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

Technology[link]

Film stock consists of transparent celluloid, acetate, or polyester base coated with an emulsion containing light-sensitive chemicals. Cellulose nitrate was the first type of film base used to record motion pictures, but due to its flammability was eventually replaced by safer materials. Stock widths and the film format for images on the reel have had a rich history, though most large commercial films are still shot on (and distributed to theaters) as 35 mm prints.

Originally moving picture film was shot and projected at various speeds using hand-cranked cameras and projectors; though 1000 frames per minute (16⅔ frame/s) is generally cited as a standard silent speed, research indicates most films were shot between 16 frame/s and 23 frame/s and projected from 18 frame/s on up (often reels included instructions on how fast each scene should be shown).^[5] When sound film was introduced in the late 1920s, a constant speed was required for the sound head. 24 frames per second was chosen because it was the slowest (and thus cheapest) speed which allowed for sufficient sound quality. Improvements since the late 19th century include the mechanization of cameras – allowing them to record at a consistent speed, quiet camera design – allowing sound recorded on-set to be usable without requiring large "blimps" to encase the camera, the invention of more sophisticated filmstocks and lenses, allowing directors to film in increasingly dim conditions, and the development of synchronized sound, allowing sound to be recorded at exactly the same speed as its corresponding action. The soundtrack can be recorded separately from shooting the film, but for live-action pictures many parts of the soundtrack are usually recorded simultaneously.

As a medium, film is not limited to motion pictures, since the technology developed as the basis for photography. It can be used to present a progressive sequence of still images in the form of a slideshow. Film has also been incorporated into multimedia presentations, and often has importance as primary historical documentation. However, historic films have problems in terms of preservation and storage, and the motion picture industry is exploring many alternatives. Most movies on cellulose nitrate base have been copied onto modern safety films. Some studios save color films through the use of separation masters: three B&W negatives each exposed through red, green, or blue filters (essentially a reverse of the Technicolor process). Digital methods have also been used to restore films, although their continued obsolescence cycle makes them (as of 2006) a poor choice for long-term preservation. Film preservation of decaying film stock is a matter of concern to both film historians and archivists, and to companies interested in preserving their existing products in order to make them available to future generations (and thereby increase revenue). Preservation is generally a higher concern for nitrate and single-strip color films, due to their high decay rates; black-and-white films on safety bases and color films preserved on Technicolor imbibition prints tend to keep up much better, assuming proper handling and storage.

Some films in recent decades have been recorded using analog video technology similar to that used in television production. Modern digital video cameras and digital projectors are gaining ground as well. These approaches are preferred by some moviemakers, especially because footage shot with digital cinema can be evaluated and edited with non-linear editing systems (NLE) without waiting for the film stock to be processed. Yet the migration is gradual, and as of 2005 most major motion pictures are still shot on film.

Independent[link]

Independent filmmaking often takes place outside of Hollywood, or other major studio systems. An independent film (or indie film) is a film initially produced without financing or distribution from a major movie studio. Creative, business, and technological reasons have all contributed to the growth of the indie film scene in the late 20th and early 21st century.

The Lumière Brothers

On the business side, the costs of big-budget studio films also leads to conservative choices in cast and crew. There is a trend in Hollywood towards co-financing (over two-thirds of the films put out by Warner Bros. in 2000 were joint ventures, up from 10% in 1987).^[6] A hopeful director is almost never given the opportunity to get a job on a big-budget studio film unless he or she has significant industry experience in film or television. Also, the studios rarely produce films with unknown actors, particularly in lead roles.

Before the advent of digital alternatives, the cost of professional film equipment and stock was also a hurdle to being able to produce, direct, or star in a traditional studio film.

But the advent of consumer camcorders in 1985, and more importantly, the arrival of high-resolution digital video in the early 1990s, have lowered the technology barrier to movie production significantly. Both production and post-production costs have been significantly lowered; today, the hardware and software for post-production can be installed in a commodity-based personal computer. Technologies such as DVDs, FireWire connections and non-linear editing system pro-level software like Adobe Premiere Pro, Sony Vegas and Apple's Final Cut Pro, and consumer level software such as Apple's Final Cut Express and iMovie, and Microsoft's Windows Movie Maker make movie-making relatively inexpensive.

Since the introduction of DV technology, the means of production have become more democratized. Filmmakers can conceivably shoot and edit a movie, create and edit the sound and music, and mix the final cut on a home computer. However, while the means of production may be democratized, financing, distribution, and marketing remain difficult to accomplish outside the traditional system. Most independent filmmakers rely on film festivals to get their films noticed and sold for distribution. The arrival of internet-based video outlets such as YouTube and Veoh has further changed the film making landscape in ways that are still to be determined.

Open content film[link]

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

Fan film[link]

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

Distribution[link]

When it is initially produced, a feature film is often shown to audiences in a movie theater or cinema. The identity of the first theater designed specifically for cinema is a matter of debate; candidates include Tally's Electric Theatre, established 1902 in Los Angeles,^[7] and Pittsburgh's Nickelodeon, established 1905.^[8] Thousands of such theaters were built or converted from existing facilities within a few years.^[9] In the United States, these theaters came to be known as nickelodeons, because admission typically cost a nickel (five cents).

Typically, one film is the featured presentation (or feature film). Before the 1970s, there were "double features"; typically, a high quality "A picture" rented by an independent theater for a lump sum, and a "B picture" of lower quality rented for a percentage of the gross receipts. Today, the bulk of the material shown before the feature film consists of previews for upcoming movies and paid advertisements (also known as trailers or "The Twenty").

Historically, all mass marketed feature films were made to be shown in movie theaters. The development of television has allowed films to be broadcast to larger audiences, usually after the film is no longer being shown in theaters.^{[citation needed]} In 1967, videocassettes of movies became available to consumers to watch in their own homes.^[10] Recording technology has since enabled consumers to rent or buy copies of films on VHS or DVD (and the older formats of laserdisc, VCD and SelectaVision – see also videodisc), and Internet downloads may be available and have started to become revenue sources for the film companies. Some films are now made specifically for these other venues, being released as a television movie or direct-to-video movies. The production values on these films are often considered to be of inferior quality compared to theatrical releases in similar genres, and indeed, some films that are rejected by their own movie studios upon completion are distributed through these markets.

The movie theater pays an average of about 50-55% of its ticket sales to the movie studio, as film rental fees.^[11] The actual percentage starts with a number higher than that, and decreases as the duration of a film's showing continues, as an incentive to theaters to keep movies in the theater longer. However, today's barrage of highly marketed movies ensures that most movies are shown in first-run theaters for less than 8 weeks. There are a few movies every year that defy this rule, often limited-release movies that start in only a few theaters and actually grow their theater count through good word-of-mouth and reviews. According to a 2000 study by ABN AMRO, about 26% of Hollywood movie studios' worldwide income came from box office ticket sales; 46% came from VHS and DVD sales to consumers; and 28% came from television (broadcast, cable, and pay-per-view).^[11]

This section requires expansion with: optical disc distribution.

Animation[link]

Animation is the technique in which each frame of a film is produced individually, whether generated as a computer graphic, or by photographing a drawn image, or by repeatedly making small changes to a model unit (see claymation and stop motion), and then photographing the result with a special animation camera. When the frames are strung together and the resulting film is viewed at a speed of 16 or more frames per second, there is an illusion of continuous movement (due to the persistence of vision). Generating such a film is very labor intensive and tedious, though the development of computer animation has greatly sped up the process.

Because animation is very time-consuming and often very expensive to produce, the majority of animation for TV and movies comes from professional animation studios. However, the field of independent animation has existed at least since the 1950s, with animation being produced by independent studios (and sometimes by a single person). Several independent animation producers have gone on to enter the professional animation industry.

Limited animation is a way of increasing production and decreasing costs of animation by using "short cuts" in the animation process. This method was pioneered by UPA and popularized by Hanna-Barbera, and adapted by other studios as cartoons moved from movie theaters to television.^[12]

Although most animation studios are now using digital technologies in their productions, there is a specific style of animation that depends on film. Cameraless animation, made famous by moviemakers like Norman McLaren, Len Lye and Stan Brakhage, is painted and drawn directly onto pieces of film, and then run through a projector.

Future state[link]

This unreferenced section requires citations to ensure verifiability.

While motion picture films have been around for more than a century, film is still a relative newcomer in the pantheon^{[clarification needed]} of fine arts. In the 1950s, when television became widely available, industry analysts^[who?] predicted the demise of local movie theaters.^{[citation needed]} Despite competition from television's increasing technological sophistication over the 1960s and 1970s^{[citation needed]} such as the development of color television and large screens, motion picture cinemas continued. In fact with the rise of television's predominance, film began to become more respected as an artistic medium by contrast due the low general opinion of the quality of average television content.^{[citation needed]} In the 1980s, when the widespread availability of inexpensive videocassette recorders enabled people to select films for home viewing, industry analysts again wrongly predicted the death of the local cinemas.^{[citation needed]}

In the 1990s and 2000s, the development of DVD players, home theater amplification systems with surround sound and subwoofers, and large LCD or plasma screens enabled people to select and view films at home with greatly improved audio and visual reproduction.^{[citation needed]} These new technologies provided audio and visual that in the past only local cinemas had been able to provide: a large, clear widescreen presentation of a film with a full-range, high-quality multi-speaker sound system. Once again industry analysts predicted the demise of the local cinema. Local cinemas will be changing in the 21st century and moving towards digital screens, a new approach which will allow for easier and quicker distribution of films (via satellite or hard disks), a development which may give local theaters a reprieve from their predicted demise.^{[citation needed]} The cinema now faces a new challenge from home video by the likes of a new high definition (HD) format, Blu-ray, which can provide full HD 1080p video playback at near cinema quality.^{[citation needed]} Video formats are gradually catching up with the resolutions and quality that film offers; 1080p in Blu-ray offers a pixel resolution of 1920×1080, a leap from the DVD offering of 720×480 and the 330×480 offered by the first home video standard, VHS.^{[citation needed]} Ultra HD, a future digital video format, will offer a resolution of 7680×4320. However, the nature and structure of film prevents an apples-to-apples comparison with regard to resolution.^[13] The resolving power of film, and its ability to capture an image which can later be scanned to a digital format, will ensure that film remains a viable medium for some time to come.^{[citation needed]} Currently the super-16 format is seeing use as a capture medium, with digital scanning and post-production providing good results.^[14][15] Despite advances in digital capture, film still offers unsurpassed ability to capture fine detail beyond what is possible with digital image sensors. A 35 mm film frame, with proper exposure and processing, still offers an equivalent resolution in the range of 500 mega pixels.^[13]

Despite the rise of all-new technologies, the development of the home video market and a surge of online copyright infringement, 2007 was a record year in film that showed the highest ever box-office grosses. Many^[who?] expected film to suffer as a result of the effects listed above but it has flourished, strengthening film studio expectations for the future.^{[citation needed]}

See also[link]

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

• Lists

Film portal

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

Related topics

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

Notes[link]

References[link]

External links[link]

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Meryl Streep
Meryl Streep in Spain, 2008
Born	Mary Louise Streep (1949-06-22) June 22, 1949 (age 63) Summit, New Jersey, U.S.
Alma mater	Vassar College; Yale School of Drama
Occupation	Actress
Years active	1971–present
Spouse	Don Gummer (m. 1978–present; 4 children)
Partner	John Cazale (1975–1978, his death)
Children	4 (including Mamie Gummer and Grace Gummer)

Mary Louise "Meryl" Streep (born June 22, 1949^[1]) is an American actress who has worked in theatre, television, and film. She is widely regarded as one of the most talented actors of all time.^[2][3][4]

Streep made her professional stage debut in The Playboy of Seville (1971), before her screen debut in the television movie Deadliest Season (1977). In that same year, she made her film debut with Julia (1977). Both critical and commercial success came quickly with roles in The Deer Hunter (1978) and Kramer vs. Kramer (1979), the former giving Streep her first Academy Award nomination and the latter her first win. She later won the Academy Award for Best Actress for her performances in Sophie's Choice (1982) and The Iron Lady (2011).

Streep has received 17 Academy Award nominations, winning three, and 26 Golden Globe nominations, winning eight, more nominations than any other actor in the history of either award. Her work has also earned her two Emmy Awards, two Screen Actors Guild Awards, a Cannes Film Festival award, five New York Film Critics Circle Awards, two BAFTA awards, an Australian Film Institute Award, five Grammy Award nominations, and a Tony Award nomination, amongst others. She was awarded the AFI Life Achievement Award in 2004 and the Kennedy Center Honor in 2009 for her contribution to American culture through performing arts, the youngest actress in each award's history.

Early life and background[link]

Streep was born Mary Louise Streep in Summit, New Jersey.^[5] Her mother, Mary Wolf (née Wilkinson; 1915-2001), was a commercial artist and former art editor, and her father, Harry William Streep, Jr. (1910-2003), was a pharmaceutical executive.^[6][7][8] She has two brothers, Dana David and Harry William III.^[9] Her patrilineal ancestry originates in Loffenau, Germany, from where her second great-grandfather, Gottfried Streeb, emigrated to the United States, and where one of her ancestors served as mayor. Another line of her father's family was from Giswil in the canton of Obwalden, a small town in Switzerland. Her maternal ancestry originates in Pennsylvania and Rhode Island, and partly traces back to 17th century immigrants from England.^[8] Her eighth great-grandfather, Lawrence Wilkinson, was one of the first Europeans to settle Rhode Island. Streep is also a distant relative of William Penn, the founder of Pennsylvania, and records show that her family were among the first purchasers of land in the state.^[10][11][12]

She was raised a Presbyterian,^[13][14] and grew up in Bernardsville, New Jersey, where she attended Bernards High School.^[15] She had many school friends who were Catholic, and regularly attended Mass because she loved its rituals.^[16] She received her B.A., in Drama at Vassar College in 1971 (where she briefly received instruction from actress Jean Arthur), but also enrolled as an exchange student at Dartmouth College for a quarter before it became coeducational. She subsequently earned an M.F.A. from Yale School of Drama. While at Yale, she played a variety of roles onstage,^[17] from the glamorous Helena in A Midsummer Night's Dream to an eighty-year-old woman in a wheelchair in a comedy written by then-unknown playwrights Christopher Durang and Albert Innaurato.^[18][19][20]

Career[link]

Early career[link]

Streep performed in several theater productions in New York and New Jersey after graduating from Yale School of Drama,^[21] including the New York Shakespeare Festival productions of Henry V, The Taming of the Shrew with Raúl Juliá, and Measure for Measure opposite Sam Waterston and John Cazale. She started a relationship with Cazale, and was to live with him until his death three years later. She starred on Broadway in the Brecht/Weill musical Happy End, and won an Obie for her performance in the all-sung off-Broadway production of Alice at the Palace.

Streep by Jack Mitchell

Streep began auditioning for film roles, and later recalled an unsuccessful audition for Dino De Laurentiis for the leading female role in King Kong. De Laurentiis commented to his son in Italian, "She's ugly. Why did you bring me this thing?" and was shocked when Streep replied in fluent Italian.^[22] In New York City, she appeared in the 1976 Broadway double bill of Tennessee Williams' 27 Wagons Full of Cotton and Arthur Miller's A Memory of Two Mondays. For the former, she received a Tony Award nomination for Best Featured Actress in a Play. Her other early Broadway credits include Anton Chekhov's The Cherry Orchard and the Bertolt Brecht-Kurt Weill musical Happy End in which she originally appeared off-Broadway at the Chelsea Theater Center. She received Drama Desk Award nominations for both productions.

Streep's first feature film was Julia (1977), in which she played a small but pivotal role during a flashback scene. Streep was living in New York City with Cazale, who had been diagnosed with bone cancer.^[23] He was cast in The Deer Hunter (1978), and Streep was delighted to secure a small role because it allowed her to remain with Cazale for the duration of filming. She was not specifically interested in the part, commenting, "They needed a girl between the two guys and I was it."^[24]

She played a leading role in the television miniseries Holocaust (1978) as a German woman married to a Jewish artist in Nazi era Germany. She later explained that she had considered the material to be "unrelentingly noble",^[24] and had taken the role only because she had needed money.^[25] Streep travelled to Germany and Austria for filming while Cazale remained in New York. Upon her return, Streep found that Cazale's illness had progressed, and she nursed him until his death on March 12, 1978. She spoke of her grief and her hope that work would provide a diversion; she accepted a role in The Seduction of Joe Tynan (1979) with Alan Alda, later commenting that she played it on "automatic pilot",^[24] and performed the role of Katherine in The Taming of the Shrew for Shakespeare in the Park.^[26] With an estimated audience of 109 million, Holocaust brought a degree of public recognition to Streep, who was described in August 1978 as "on the verge of national visibility".^[25] She won the Primetime Emmy Award for Outstanding Lead Actress – Miniseries or a Movie^[27] for her performance.

The Deer Hunter (1978) was released a month later, and Streep was nominated for the Academy Award for Best Supporting Actress for her performance.

Streep played a supporting role in Manhattan (1979) for Woody Allen, later stating that she had not seen a complete script and was given only the six pages of her own scenes,^[28] and that she had not been permitted to improvise a word of her dialogue.^[29] Asked to comment on the script for Kramer vs. Kramer (1979), in a meeting with the producer Stan Jaffee, director Robert Benton and star Dustin Hoffman, Streep insisted that the female character was not representative of many real women who faced marriage breakdown and child custody battles, and was written as "too evil".^[24] Jaffee, Benton and Hoffman agreed with Streep, and the script was revised.^[24] In preparing for the part, Streep spoke to her own mother about her life as a mother and housewife with a career,^[30] and frequented the Upper East Side neighborhood in which the film was set.^[24] Benton allowed Streep to write her dialogue in two of her key scenes, despite some objection from Hoffman.^[31] Jaffee and Hoffman later spoke of Streep's tirelessness, with Hoffman commenting, "She's extraordinarily hardworking, to the extent that she's obsessive. I think that she thinks about nothing else but what she's doing."^[32]

Streep drew critical acclaim for her performance in each of her three films released in 1979: the romantic comedy Manhattan, the political drama The Seduction of Joe Tynan and the family drama, Kramer vs. Kramer.^[21] She was awarded the Los Angeles Film Critics Association Award for Best Supporting Actress, National Board of Review Award for Best Supporting Actress and National Society of Film Critics Award for Best Supporting Actress for her collective work in the three films. Among the awards won for Kramer vs. Kramer were the Academy Award and Golden Globe Award for Best Supporting Actress.^[21]

1980s[link]

Streep at the 61st Academy Awards, 1989

After prominent supporting roles in two of the 1970s' most successful films, the consecutive winners of the Academy Award for Best Picture, The Deer Hunter and Kramer vs. Kramer, and praise for her versatility in several supporting roles, Streep progressed to leading roles. Her first was The French Lieutenant's Woman (1981). A story within a story drama, the film paired Streep with Jeremy Irons as contemporary actors, telling their modern story as well as the Victorian era drama they were performing. A New York Magazine article commented that, while many female stars of the past had cultivated a singular identity in their films, Streep was a "chameleon", willing to play any type of role.^[33] Streep was awarded a BAFTA Award for Best Actress in a Leading Role for her work.

Her next film, the psychological thriller, Still of the Night (1982) reunited her with Robert Benton, the director of Kramer vs. Kramer, and co-starred Roy Scheider and Jessica Tandy. Vincent Canby, writing for The New York Times, noted that the film was an homage to the works of Alfred Hitchcock, but that one of its main weaknesses was a lack of chemistry between Streep and Scheider, concluding that Streep "is stunning, but she's not on screen anywhere near long enough".^[34]

As the Polish holocaust survivor in Sophie's Choice (1982), Streep's emotional dramatic performance and her apparent mastery of a Polish accent drew praise.^[21] William Styron wrote the novel with Ursula Andress in mind for the part of Sophie, but Streep was very determined to get the role. After she obtained a pirated copy of the script, she went to Alan J. Pakula and threw herself on the ground begging him to give her the part. Streep filmed the "choice" scene in one take and refused to do it again, as she found shooting the scene extremely painful and emotionally exhausting.^[35] Among several notable acting awards, Streep won the Academy Award for Best Actress for her performance. Roger Ebert said of her performance, "Streep plays the Brooklyn scenes with an enchanting Polish-American accent (she has the first accent I've ever wanted to hug), and she plays the flashbacks in subtitled German and Polish. There is hardly an emotion that Streep doesn't touch in this movie, and yet we're never aware of her straining. This is one of the most astonishing and yet one of the most unaffected and natural performances I can imagine."

She followed this success with a biographical film, Silkwood (1983), in which she played her first real-life character, the union activist Karen Silkwood. She discussed her preparation for the role in an interview with Roger Ebert and said that she had met with people close to Silkwood to learn more about her, and in doing so realized that each person saw a different aspect of Silkwood.^[36] Streep concentrated on the events of Silkwood's life and concluded, "I didn't try to turn myself into Karen. I just tried to look at what she did. I put together every piece of information I could find about her... What I finally did was look at the events in her life, and try to understand her from the inside."^[36]

Her next films were a romantic drama, Falling in Love (1984) opposite Robert De Niro, and a British drama, Plenty (1985). Roger Ebert said of Streep's performance in Plenty that she conveyed "great subtlety; it is hard to play an unbalanced, neurotic, self-destructive woman, and do it with such gentleness and charm... Streep creates a whole character around a woman who could have simply been a catalogue of symptoms."^[37]

Out of Africa (1985) starred Streep as the Danish writer Karen Blixen and co-starred Robert Redford. A significant critical success, the film received a 63% "fresh" rating from Rotten Tomatoes.^[38] Streep co-starred with Jack Nicholson in her next two films, the dramas Heartburn (1986) and Ironweed (1987), in which she sang onscreen for the first time since the television movie, Secret Service, in 1977. In A Cry in the Dark (1988), she played the biographical role of Lindy Chamberlain, an Australian woman who had been convicted of the murder of her infant daughter in which Chamberlain claimed her baby had been taken by a dingo. Filmed in Australia, Streep won the Australian Film Institute Award for Best Actress in a Leading Role, a Best Actress at the Cannes Film Festival, the New York Film Critics Circle Award for Best Actress and was nominated for several other awards for her portrayal of Chamberlain.

In She-Devil (1989), Streep played her first comedic film role, opposite Roseanne Barr. Richard Corliss, writing for Time, commented that Streep was the "one reason" to see the film and observed that it marked a departure from the type of role for which she had been known, saying, "Surprise! Inside the Greer Garson roles Streep usually plays, a vixenish Carole Lombard is screaming to be cut loose."^[39]

1990s[link]

From 1984 to 1990, Streep won six People's Choice Awards for Favorite Motion Picture Actress and, in 1990, was named World Favorite.

In the 1990s, Streep continued to choose a great variety of roles, including a drug-addicted movie actress in a screen adaptation of Carrie Fisher's novel Postcards from the Edge, with Dennis Quaid and Shirley MacLaine. Streep and Goldie Hawn had established a friendship and were interested in making a film together. After considering various projects, they decided upon Thelma and Louise, until Streep's pregnancy coincided with the filming schedule, and the producers decided to proceed with Susan Sarandon and Geena Davis.^[22] They subsequently filmed the farcical black comedy, Death Becomes Her, with Bruce Willis as their co-star. Time's Richard Corliss wrote approvingly of Streep's "wicked-witch routine" but dismissed the film as "She-Devil with a make-over".^[40]

Biographer Karen Hollinger describes this period as a downturn in the popularity of Streep's films, which reached its nadir with the failure of Death Becomes Her, attributing this partly to a critical perception that her comedies had been an attempt to convey a lighter image following several serious but commercially unsuccessful dramas, and more significantly to the lack of options available to an actress in her forties.^{[41][clarification needed]} Streep commented that she had limited her options by her preference to work in Los Angeles, close to her family,^[41] a situation that she had anticipated in a 1981 interview when she commented, "By the time an actress hits her mid-forties, no one's interested in her anymore. And if you want to fit a couple of babies into that schedule as well, you've got to pick your parts with great care."^[33]

In 1995, Streep played opposte Clint Eastwood in the love story The Bridges of Madison County (1995). Based on a best-selling novel by Robert James Waller,^[42] it relates the story of Robert Kincaid (Eastwood), a photographer working for National Geographic, who has a love affair with a middle-aged Italian farm wife in Iowa named Francesca (Streep). Streep and Eastwood got along famously during production and such was their on-screen chemistry that a number of people believed that the two were having an affair off-camera, although this was denied by both.^[43] The film was a hit at the box office and grossed $70 million in the United States.^[44] The film, unlike the novel, surprised film critics and was warmly received. Janet Maslin of The New York Times wrote that Clint had managed to create "a moving, elegiac love story at the heart of Mr. Waller's self-congratulatory overkill", while Joe Morgenstern of the The Wall Street Journal described The Bridges of Madison County as "one of the most pleasurable films in recent memory".^[44]

In 1999, Streep portrayed Roberta Guaspari, a real-life New Yorker who found passion and enlightenment teaching violin to inner-city kids in East Harlem, in the music drama Music of the Heart. A departure from director Wes Craven’s previous work on films like A Nightmare on Elm Street and the Scream series, Streep replaced singer Madonna who left the project before filming began due to creative differences with Craven. Required to perform on the violin, Streep went through two months of intense training, four to six hours a day.^[45]

In addition, Streep appeared with Glenn Close in the movie version of Isabel Allende's The House of the Spirits; The River Wild; Marvin's Room (with Diane Keaton and Leonardo DiCaprio); and One True Thing.

2000s[link]

Streep entered the 2000s with Steven Spielberg's A.I. Artificial Intelligence, a science fiction film about a child-like android, played by Haley Joel Osment, uniquely programmed with the ability to love, voicing the Blue Fairy.^[46] The same year, Streep co-hosted the annual Nobel Peace Prize Concert concert with Liam Neeson which was held in Oslo, Norway on December 11, 2001 in honour of the Nobel Peace Prize laureate, the United Nations and Kofi Annan.^[47]

In 2002, Streep returned to the stage for the first time in more than twenty years, playing Arkadina in The Public Theater's revival of Anton Chekhov's The Seagull, directed by Mike Nichols and co-starring Kevin Kline, Natalie Portman, and Philip Seymour Hoffman.^[48] The same year, she began work on Spike Jonze's comedy-drama Adaptation (2002), in which she portrayed real-life journalist Susan Orlean. Lauded by critics and viewers alike,^[49] the film won Streep her fourth Golden Globe in the Best Supporting Actress category.^[50] Also in 2002, Streep appeared alongside Nicole Kidman and Julianne Moore in Stephen Daldry's The Hours, based on the 1999 novel by Michael Cunningham. Focusing on three women of different generations whose lives are interconnected by the novel Mrs. Dalloway by Virginia Woolf, the film was generally well received and won all three leading actresses a Silver Bear for Best Actress the following year.^[50]

Streep in St. Petersburg, Russia in 2004.

The following year, Streep had a cameo as herself in the Farrelly brothers comedy Stuck on You (2003) and reunited with Mike Nichols to star with Al Pacino and Emma Thompson in the HBO adaptation of Tony Kushner's six-hour play Angels in America, the story of two couples whose relationships dissolve amidst the backdrop of Reagan Era politics. Streep, who was cast in four roles in the mini-series, received her second Emmy Award and fifth Golden Globe for her performance.^[50] In 2004, Streep was awarded the AFI Life Achievement Award by the Board of Directors of the American Film Institute,^[50]. She appeared in Jonathan Demme's moderately successful remake of The Manchurian Candidate,^[51] co-starring Denzel Washington, playing the role of a woman who is both a U.S. senator and the manipulative, ruthless mother of a vice-presidential candidate.^[52] The same year, she played the supporting role of Aunt Josephine in Lemony Snicket's A Series of Unfortunate Events alongside Jim Carrey, based on the first three novels in Snicket's book series. The black comedy received generally favorable reviews from critics,^[53] and won the Academy Award for Best Makeup.^[54]

Streep was next cast in the 2005 comedy Prime, directed by Ben Younger. In the film, she played Lisa Metzger, the Jewish psychoanalyst of a divorced and lonesome business-woman, played by Uma Thurman, who enters a relationship with Metzger's 23-year-old son (Bryan Greenberg). A modest mainstream success, it eventually grossed US$67.9 million internationally.^[55] In August and September 2006, she starred onstage at The Public Theater's production of Mother Courage and Her Children at the Delacorte Theatre in Central Park.^[56] The Public Theater production was a new translation by playwright Tony Kushner (Angels in America), with songs in the Weill/Brecht style written by composer Jeanine Tesori (Caroline, or Change); veteran director George C. Wolfe was at the helm. Streep starred alongside Kevin Kline and Austin Pendleton in this three-and-a-half-hour play in which she sang and appeared in almost every scene.

Also in 2006, Streep, along with Lily Tomlin, portrayed the last two members of what was once a popular family country music act in Robert Altman's final film A Prairie Home Companion. A comedic ensemble piece featuring Tommy Lee Jones, Kevin Kline and Woody Harrelson, the film revolves around the behind-the-scenes activities at the long-running public radio show of the same name. The film grossed over US$26 million, the majority of which came from domestic markets.^[57] Commercially, Streep fared better with a role in The Devil Wears Prada (2006), a loose screen adaptation of Lauren Weisberger's 2003 novel of the same name. Streep portrayed the powerful and demanding Miranda Priestly, fashion magazine editor (and boss of a recent college graduate played by Anne Hathaway), and her performance drew rave reviews from critics and earned her many award nominations, including her record-setting 14th Oscar bid, as well as another Golden Globe. Upon its commercial release, the film became Streep's biggest commercial success yet, grossing more than US$326.5 million worldwide.^[58]

In 2007, Streep was cast in four films. She portrayed a wealthy university patron in Chen Shi-zheng's much-delayed feature drama Dark Matter (2007), a film about a Chinese science graduate student who becomes violent after dealing with academic politics at a U.S. university. Inspired by the events of the 1991 University of Iowa shooting,^[59] and initially scheduled for a 2007 release, producers and investors decided to shelve Dark Matter out of respect for the Virginia Tech massacre in April 2007.^[60] The drama received negative to mixed reviews upon its limited 2008 release.^[61] Streep played a U.S. government official who investigates an Egyptian foreign national suspected of terrorism in the political thriller Rendition (2007), directed by Gavin Hood.^[62] Keen to get involved in a thriller film, Streep welcomed the opportunity to star in a film genre for which she was not usually offered scripts and immediately signed on to the project.^[63] Upon its release, Rendition was less commercially successful,^[64] and received mixed reviews.^[65]

Also in 2007, Streep had a short role alongside Vanessa Redgrave, Glenn Close and her eldest daughter Mamie Gummer in Lajos Koltai's drama film Evening, based on the 1998 novel of the same name by Susan Minot. Switching between the present and the past, it tells the story of a bedridden woman, who remembers her tumultuous life in the mid-1950s.^[66] The film was released to lukewarm reactions by critics, who called it "beautifully filmed, but decidedly dull [and] a colossal waste of a talented cast."^[67][68] Streep's last film of 2007 was Robert Redfords Lions for Lambs, a film about the connection between a platoon of United States soldiers in Afghanistan, a U.S. senator, a reporter, and a California college professor.

Streep with her fellow cast and all four members of ABBA at the Swedish premiere of Mamma Mia! in July 2008.

In 2008, Streep found major commercial success when she starred in Phyllida Lloyd's Mamma Mia!, a film adaptation of the musical of the same name, based on the songs of Swedish pop group ABBA. Co-starring Amanda Seyfried, Pierce Brosnan, Stellan Skarsgård and Colin Firth, Streep played a single mother and a former backing singer, whose daughter (Seyfried), a bride-to-be who never met her father, invites three likely paternal candidates to her wedding on an idyllic Greek island.^[69] An instant box office success, Mamma Mia! became Streep's highest-grossing film to date, with box office receipts of US$602.6 million,^[70] also ranking it first among the highest-grossing musical films of all-time.^[71] Nominated for another Golden Globe, Streep's performance was generally well received by critics, with Wesley Morris of the Boston Globe commenting "the greatest actor in American movies has finally become a movie star."^[72] Streep's other film of 2008 was Doubt featuring Philip Seymour Hoffman, Amy Adams, and Viola Davis. A drama revolving around the stern principal nun (Streep) of a Bronx Catholic school in 1964 who brings charges of pedophilia against a popular priest (Hoffman), the film became a moderate box office success,^[73] but was hailed by many critics as one of the best of 2008.^[74] The film received five Academy Awards nominations, for its four lead actors and for Shanley's script.^[50]

In 2009, Streep played chef Julia Child in Nora Ephron's Julie & Julia, co-starring Amy Adams and Stanley Tucci. The first major motion picture based on a blog, it contrasts the life of Child in the early years of her culinary career with the life of young New Yorker Julie Powell (Adams), who aspires to cook all 524 recipes in Child's cookbook Mastering the Art of French Cooking in 365 days, a challenge she described on her popular blog, The Julie/Julia Project, that would make her a published author. The same year, Streep also starred in Nancy Meyers' romantic comedy It's Complicated, with Alec Baldwin and Steve Martin. She also received nominations for the Golden Globe Award for Best Actress – Motion Picture Musical or Comedy for both of these films and won the award for the former.^[75] Streep later received her 16th Oscar nomination for Julie & Julia.^[76] She also lent her voice to Mrs. Felicity Fox in the stop-motion film Fantastic Mr. Fox.

2010s[link]

Streep's first film of the 2010s was Phyllida Lloyd's The Iron Lady (2011), a British biographical film about Margaret Thatcher, which takes a look at the Prime Minister during the Falklands War and her years in retirement.^[77] Streep, who sat through a session at the House of Commons to observe British MPs in action in preparation for her role,^[78] called her cast "a daunting and exciting challenge," and further added: "I am trying to approach the role with as much zeal, fervour and attention to detail as the real Lady Thatcher possesses – I can only hope my stamina will begin to approach her own."^[79] While the film met with mixed critics, Streep's performance got rave reviews, earning her Best Actress awards at the Golden Globes and the BAFTAs as well as a third statuette at the Academy Awards.^[80][81][82]

In July 2010, it was announced that Streep will star in an upcoming comedy entitled Mommy & Me alongside Tina Fey who will play her daughter. The film is being directed by Stanley Tucci.^[83]

Accents and dialects[link]

Streep is well known for her ability to imitate foreign and domestic accents,^[21] from Danish in Out of Africa (1985); to British RP in Plenty (also 1985), The French Lieutenant's Woman (1981) and The Iron Lady (2011); and from Italian in The Bridges of Madison County (1995); to a Minnesota accent in A Prairie Home Companion (2006). In A Cry in the Dark (1988), critics were impressed with Streep's ability to master an Australian accent with shades of New Zealand English.^[84] For her role in the film Sophie's Choice (1982), she took language courses to speak both English and German with a Polish accent. In The Iron Lady, she reproduced the vocal style of Margaret Thatcher, from the time before she became Britain's Prime Minister, and after she had taken elocution lessons to change her pitch, pronunciation and delivery. Despite the accolades accorded to her, Streep has emphasised that adopting accents is an element she simply considers an obvious part of creating a character. When asked whether accents helped her get into character, she responded, "I'm always baffled by this question... How could I play that part and talk like me?" When questioned as to how she reproduces different accents, Streep replied, "I listen."^[85]

Music[link]

After Streep appeared in Mamma Mia!, her rendition of the song "Mamma Mia" rose to popularity in the Portuguese music charts, where it peaked at #8 in October 2008.^[86]

At the 35th People's Choice Awards, her version of Mamma Mia won an award for "Favorite Song From A Soundtrack".^[87] In 2008, Streep was nominated for a Grammy Award (her fifth nomination) for her work on the Mamma Mia! soundtrack.

Philanthropy[link]

Streep is the spokesperson for the National Women's History Museum, to which she has donated a significant amount of money (including her fee for The Iron Lady) and hosted numerous events. ^[88]

Personal life[link]

Streep lived with actor John Cazale for three years until his death in March 1978.^[89][90] Streep married sculptor Don Gummer on September 15, 1978.^[91] They have four children: Henry "Hank" Wolfe Gummer (born November 13, 1979), Mary Willa "Mamie" Gummer (born August 3, 1983), Grace Jane Gummer (born May 9, 1986), and Louisa Jacobson Gummer (born June 12, 1991). Both Mamie and Grace are actresses.^[6] Hank is a musician who performs under the name Henry Wolfe.^[92]

When asked if religion plays a part in her life, in an interview in 2009, Streep replied, "I follow no doctrine. I don't belong to a church or a temple or a synagogue or an ashram."^[93] Streep does not rule out the possibility that God exists, “I do have a sense of trying to make things better. Where does that come from?”^[94]

Awards and nominations[link]

Streep receiving her honorary degree from Harvard University on May 27, 2010

In 1999, Streep was awarded The George Eastman Award, given by George Eastman House for distinguished contribution to the art of film.^[95] Streep holds the record for the most Academy Award nominations of any actor, having been nominated 17 times since her first nomination in 1979 for her performance in The Deer Hunter (fourteen for Best Actress and three for Best Supporting Actress) – five more than both Katharine Hepburn and Jack Nicholson, who are tied in second place.^[96] With her third Oscar win for her performance as Margaret Thatcher in The Iron Lady (2011) in 2012, Streep became the fifth performer to receive three Academy Awards: Nicholson, Ingrid Bergman and Walter Brennan all earned three, while Hepburn won four.^[97]

In 2009, Streep became the most-nominated performer in Golden Globe Awards history when her double lead actress nods for Doubt (2008) and Mamma Mia! (2008) gave her 23 in total, breaking the tie with Jack Lemmon, who had received 22 lead nominations before his death in 2001.^[98] The following year, Streep surpassed Jack Nicholson and Angela Lansbury, with six Golden Globe awards wins each, after receiving her seventh Globe for her performance as Julia Child in Julie & Julia (2009).^[98] In 2012, she broke her own record when she garnered her 26th nomination and overall eighth win for The Iron Lady at the 69th Golden Globe Awards.

As with both the Oscars and the Golden Globe Awards, Streep holds the BAFTA record for most nominations at 14 in total.^[99] She received her second Best Actress award for The Iron Lady at the 65th ceremony in February 2012, following her first win in 1981 for her performance in The French Lieutenant's Woman (1981).^[99]

In 1983, Yale University, from which Streep graduated in 1975,^[100] was the first university to award her an honorary degree, a Doctorate of Fine Arts.^[101] In 1998, Women in Film awarded Streep with the Crystal Award, an honor for outstanding women who, through their endurance and the excellence of their work, have helped to expand the role of women within the entertainment industry.^[102] The same year, Streep received a star on the Hollywood Walk of Fame.

In 2003, Streep was awarded an honorary César Award by the French Académie des Arts et Techniques du Cinéma. In 2004, at the Moscow International Film Festival, Streep was honored with the Stanislavsky Award for the outstanding achievement in the career of acting and devotion to the principles of Stanislavsky's school. Also in 2004, Streep received the AFI Life Achievement Award. In 2008, Streep was inducted into the New Jersey Hall of Fame.^[103] In 2009, she was awarded an honorary Doctorate of Fine Arts by Princeton University.^[104] In 2010, she was elected to the American Academy of Arts and Letters and was awarded an honorary Doctor of Arts degree by Harvard University.^[105][106]