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History of film
                                     

★ History of film

Although the start of the history of film is not clearly defined, the commercial, public screening of ten of Lumiere brothers short films in Paris on 28 December 1895 can be regarded as the breakthrough of projected cinematographic motion pictures. There had been earlier cinematographic results and screenings but these lacked either the quality or the momentum that propelled the cinematographe Lumiere into a worldwide success.

Soon film production companies and studios were established all over the world. The first decade of motion picture saw film (motion picture film saw) moving from a novelty to an established mass entertainment industry. The earliest films were in black and white, under a minute long, without recorded sound and consisted of a single shot from a steady camera.

Conventions towards a general cinematic language developed over the years with the use of several shots mostly through editing, continuity between shots, camera movements, camera angle, field size long shot to extreme close-up and other cinematic methods all contributing specific roles in the narrative of films.

Special effects became a feature in movies since the late 1890s, popularized by Georges Melies fantasy films. Many effects were impossible or impractical to perform in theater plays and thus added more magic to the experience of movies.

Technical improvements added length reaching 60 minutes for a feature film in 1906, synchronized sound recording mainstream since the end of the 1920s, color mainstream since the 1930s and 3D mainstream in theaters since (The 1930s and mainstream 3D in theaters since the) first decade of the 21st century. Sound ended the necessity of interruptions of title cards, revolutionized the narrative possibilities for filmmakers, and became an integral part of moviemaking.

Different film genres emerged and enjoyed variable degrees of success over time, with huge differences between for instance horror films mainstream since the 1890s, newsreels prevalent in U.S. cinemas between the 1910s and the late 1960-ies musicals mainstream since the (mainstream musicals since the) late 1920s and pornographic films experiencing (late 1920s pornographic films and experiencing) to Golden Age during the 1970s.

The popularity of television seemed to form a threat to cinemas in the 1950s at least in the U.S. and other western countries, which resulted in attempts to make theatrical films more attractive with technological innovations. New widescreen formats enticed filmmakers to create more epic films and spectacles that looked better on a big screen than on television. 3D films experienced a short golden age from 1952 to 1954. Television also opened up a new market for filmmakers, introducing new possibilities that led to new genres, especially in serialized form.

Since the 1950s video became a viable, cheaper alternative to film, with direct results, forming a more accessible moving image medium (forming a moving image more accessible medium) for many more artists and amateurs to experiment with. This led to the emergence of video art in the late 1960s and to much more home movies being did.

Market By the 1980s home video had opened a big for films that already had their theatrical run, giving people easier access to titles of their choice in video rental shops. Direct-to-video niche markets usually offered below quality, cheap productions that were not deemed very suitable for the general audiences of television and theatrical releases.

Improving over time, digital production methods became more and more popular during the 1990s, resulting in increasingly realistic visual effects and popular feature-length computer animations.

Since the late 2000s streaming media platforms like YouTube (2000s media streaming platforms like YouTube) and means for anyone with access to internet and cameras a standard feature of smartphones to publication videos to the world. Also competing with the increasing popularity of video games and other forms of home entertainment, the industry once again started to make theatrical releases more attractive with new 3D technologies and epic fantasy and superhero films became a mainstay in cinemas.

                                     

1. Precursors. (Прекурсоров)

Film as an art form has drawn on several earlier traditions in the fields such as oral storytelling, literature, theatre and visual arts. Forms of art and entertainment that had already featured moving and / or projected images include:

  • Shadowgraphy, probably used since prehistoric times.
  • Camera obscura, a natural phenomenon that has possibly been used as an artistic aid since prehistoric times.
  • Shadow puppetry, possibly originated around 200 BCE in Central Asia, India, Indonesia or China.
  • Magic lantern, developed in the 1650s, preceded by some incidental and / or inferior projectors.
  • Stroboscopic "persistence of vision" animation devices.

Some ancient sightings of gods and spirits may have been conjured up by means of concave mirrors, camera obscura or unknown projectors. By the 16th century necromantic ceremonies and the conjuring of ghostly apparitions by charlatan "magicians" and "witches" seemed commonplace. The very first magic lantern shows seem to have continued this tradition with images of death, monsters and other scary figures. Around 1790 this was developed into multi-media ghost shows known as phantasmagoria that could feature mechanical slides, rear projection, mobile projectors, superimposition, dissolves, live actors, smoke sometimes to project images upon, odors, sounds and even electric shocks. While the first magic lantern images seem to have been intended to scare audiences, soon all sorts of subjects appeared and the lantern was not only used for storytelling but also for education. In the 19th century several new and popular magic lantern techniques were developed, including dissolving views and several types of mechanical slides that created dazzling abstract effects chromatrope, etc. or that showed for instance falling snow, or the planets and their moons revolving.

                                     

2.1. Early period. Before celluloid. (Прежде чем целлулоид)

Early photographic sequences, known as chronophotography, can be regarded as early motion picture recordings that could not yet be presented as moving pictures. Since 1878, Eadward Muybridge made hundreds of chronophotographic studies of the motion of animals and humans in real-time, soon followed by other chronophotographers like Etienne-Jules Marey, Georges demenÿ and Ottomar Anschutz. Usually chronophotography was regarded as a serious, even scientific, method to study motion and almost exclusively involved humans or animals performing a simple movement in front of the camera. Soon after Muybridge published his first results as The Horse in Motion cabinet cards, people put the silhouette-like photographic images in zoetropes to watch them in motion. Most sequences could later be animated into very short films with fluent motion relatively often the footage can be presented as a loop that repeats the motion seamlessly.

                                     

2.2. Early period. Silent era. (Немой эпохи)

In the 1890s, films were seen mostly via temporary storefront spaces and traveling exhibitors or as acts in vaudeville programs. A film could be under a minute long and would usually present a single scene, authentic or staged, of everyday life, a public event, a sporting event or slapstick. There was little to no cinematic technique, the film was usually black and white and it was without sound.

The novelty of realistic moving photographs was enough for a motion picture industry to blossom before the end of the century, in countries around the world. "The Cinema" was to offer a relatively cheap and simple way of providing entertainment to the masses. Filmmakers could record actors performances, which then could be shown to audiences around the world. Travelogues would bring the sights of far-flung places, with movement, directly to spectators hometowns. Movies would become the most popular visual art form of the late Victorian age.

The Berlin Wintergarten theater hosted an early movie presentation in front of an audience, shown by the Skladanowsky brothers in 1895. The Melbourne Athenaeum started to screen movies in 1896. Movie theaters became popular entertainment venues and social hubs in the early 20th century, much like cabarets and other theaters.

Until 1927, most motion pictures were produced without sound. This era is referred to as the silent era of film. To enhance the viewers experience, silent films were commonly accompanied by live musicians in an orchestra, a theatre organ, and sometimes sound effects and even commentary spoken by the showman or projectionist. In most countries, intertitles came to be used to provide dialogue and narration for the film, thus dispensing with narrators, but in Japanese cinema human narration remained popular throughout the silent era. The technical problems were resolved by 1923.

Illustrated songs were a notable exception to this trend that began in 1894 in vaudeville houses and persisted as late as the late 1930s in film theaters. Live performance or sound recordings were paired with hand-colored glass slides projected through stereopticons and similar devices. In this way, song narrative was illustrated through a series of slides whose changes were simultaneous with the narrative development. The main purpose of illustrated songs was to encourage sheet music sales, and they were highly successful with sales reaching into the millions for a single song. Later, with the birth of film, illustrated songs were used as filler material preceding films and during reel changes.

The 1914 The Photo-Drama of Creation was a non-profit attempt to combine the motion picture with a combination of slides and synchronize the as a result moving picture with audio. The film included hand-painted slides as well as other earlier used techniques. Simultaneously playing the audio while the film was being played with a projector was required. Produced by the Watch Tower Bible and Tract Society of Pennsylvania Jehovahs Witnesses, this the eight–hour bible drama was being shown in 80 cities every day and almost eight million people in the United States and Canada saw the presentation.



                                     

3. Birth of movies. (Рождение кино)

Within eleven years of motion pictures, the films moved from a novelty show to an established large-scale entertainment industry. Films moved from a single shot, completely made by one person with a few assistants, towards films several minutes long consisting of several shots, which were made by large companies in something like industrial conditions.

By 1900, the first motion pictures that can be considered "films" – emerged, and film-makers began to introduce basic edit techniques and film narrative.

                                     

3.1. Birth of movies. Invention and advancement of the camera. (Изобретение и продвижение камера)

Early movie cameras were fastened to the head of a tripod with only simple levelling device provided. These cameras were effectively fixed during the course of a shot, and the first camera movements were the result of mounting a camera on a moving vehicle. The Lumiere brothers shot a scene from the back of a train in 1896.

The first rotating camera for taking panning shots was built by Robert W. Paul in 1897, on the occasion of Queen Victorias Diamond Jubilee. He used his camera to shoot the procession in one shot. His device had the camera mounted on a vertical axis that could be rotated by a the worm gear driven by turning a crank handle, and Paul put it on general sale the next year. Shots taken using such a "panning" head were also referred to as panorama in the film catalogues.

Georges Melies built one of the first film studios in May 1897. It had a glass roof and three glass walls built after the model of large studios for still photography, and it was fitted with thin cotton cloths that could be stretched below the roof to diffuse the direct rays of the sun on sunny days. Beginning in 1896, Melies would go on to produce, direct, and distribute over 500 short films. The majority of these films were short, one-shot films completed in one take. Melies drew many comparisons between film and the stage, which was apparent in his work. He realized that film afforded him the ability via his use of time lapse photography to "produce visual spectacles not achievable in theater.

The Execution of Mary Stuart, produced by the Edison Company for viewing with the Kinetoscope, showed Mary Queen of Scots being executed in full view of the camera. The effect was achieved by replacing the actor with a dummy for the final shot. Georges Melies also utilized this technique in the making of Escamotage dun dame chez Robert-Houdin The Vanishing Lady. The woman is seen to vanish through the use of stop motion techniques.

The other basic technique for trick cinematography was the double exposure of the film in the camera. This was pioneered by George Albert Smith in July 1898 in England. The set was draped in black, and after the main shot, the negative was re-exposed to the overlaid scene. His The Corsican Brothers was described in the catalogue of the Warwick Trading Company in 1900: "By extremely careful photography the Ghost appears *quite transparent*. After indicating that he has been killed by a sword-thrust, and appealing for vengeance, he disappears. A vision then appears showing in fatal duel in the snow.”

G.A. Smith also initiated the special effects technique of reverse motion. He did this by repeating the action a second time, while filming it with an inverted camera, and then joining the tail of the second negative to that of the first. The first films made using this device were Tipsy, Topsy, Turvy and The Awkward Sign Painter. The earliest surviving example of this technique is Smiths The House That Jack Built, made before September 1900.

Cecil Hepworth took this technique further, by printing the negative of the forwards motion backwards frame by frame, so producing a print in which the original action was exactly reversed. To do this he built a special printer in which the negative running through a projector was projected into the gate of a camera through a special lens giving a it is the same size image. This arrangement came to be called a "projection printer", and eventually an "optical printer".

The use of different camera speeds also appeared around 1900 in the films of Robert W. Paul and Hepworth. Paul shot scenes from On a Runaway Motor Car through Piccadilly circus 1899 with the camera turning very slowly. When the film was projected at the usual 16 frames per second, the scenery appeared to be passing at great speed. Hepworth used the opposite effect in The Indian Chief and the Seidlitz Powder 1901. The Chiefs movements are sped up by cranking the camera much faster than 16 frames per second. This gives what we would call a "slow motion" effect.

                                     

3.2. Birth of movies. Film editing and continuous narrative. (Редактирование фильма и непрерывное повествование)

The first films to consist of more than one shot appeared toward the end of the 19th century. A notable example was the French film of the life of Jesus Christ, La vie du Christ The Birth, the Life and the Death of Christ, by Alice Guy. These werent represented as a continuous film, the separate scenes were interspersed with lantern slides, a lecture, and live choral numbers, to increase the running time of the spectacle to about 90 minutes. Another example of this is the reproductions of scenes from the Greco-Turkish war, made by Georges Melies in 1897. Although each scene was sold separately, they were shown one after the other by the exhibitors. Even Melies Cendrillon Cinderella of 1898 contained no action moving from one shot to the next one. To understand what was going on in the film the audience had to know their stories beforehand, or be told them by a presenter.

Real film continuity, involving action moving from one sequence into another, is attributed to British film pioneer Robert W. Pauls Come Along, Do!, made in 1898 and one of the first films to feature more than one shot. In the first shot, an elderly couple is outside an art exhibition having lunch and then follow other people inside through the door. The second shot shows what they do inside. Pauls Cinematograph Camera No. 1 of 1895 was the first camera to feature reverse cranking, which allowed the same film footage to be exposed several times and thereby to create super-positions and multiple exposures. This technique was first used in his 1901 film Scrooge, or, Marleys Ghost.

The further development of action continuity in multi-shot films continued in 1899 at the Brighton School in England. In the latter part of that year, George Albert Smith made The Kiss in the Tunnel. This started with a shot from a "phantom ride" at the point in which the train goes into a tunnel, and continued with the action on a set representing the interior of and railway carriage, where a man steals a kiss from a woman, and then cuts back to the phantom ride shot when the train comes out of the tunnel. A month later, the Bamforth company in Yorkshire made a restaged version of this the film under the same title, and in this case they filmed shots of a train entering and leaving a tunnel from next the tracks, which they joined before and after their version of the kiss inside the train compartment.

In 1900, continuity of action across successive shots was definitively established by George Albert Smith and James Williamson, who also worked in Brighton. In that year Smith made As Seen Through a Telescope, in which the main shot shows street scene with a young man tying the shoelace and then caressing the foot of his girlfriend, while an old man observes this through a telescope. There is then a cut to close shot of the hands on the girls foot shown inside a black circular mask, and then a cut back to the continuation of in original scene. Even more remarkable is James Williamsons Attack on a China Mission Station 1900. The first shot shows Chinese Boxer rebels at the gate, it then cuts to the missionary family in the garden, where a fight ensues. The wife signals to British sailors from the balcony, who come and rescue them. The film also used the first "reverse angle" cut in film history.

G.A Smith pioneered the use of the close-up shot in his 1900 films As saw Through a Telescope and Grandmas Reading glass. He further developed the ideas of breaking a scene shot in one place into a series of shots taken from different camera positions over the next couple of years, starting with The Little Doctors of 1901. In a series of films he produced at this time, he also introduced the use of subjective and objective point-of-view shots, the creation of dream-time and the use of reversing. He summed up his work in Mary Janes Mishap of 1903, with repeated cuts in to a close shot of a housemaid fooling around, along with superimpositions and other devices, before abandoning film-making to invent the Kinemacolor system of colour cinematography. His films were the first to establish the basics of coherent narrative and what became known as film language, or "film grammar".

James Williamson concentrated on making films taking action from one place shown in one shot to the next shown in another shot in films like Stop Thief!, made in 1901, and many others. He also experimented with the close-up, and made perhaps the most extreme one of all in The Big Swallow, when his character approaches the camera and appears to swallow it. These two film makers of the Brighton School also pioneered the editing of the film, they tinted their work with color and used trick photography to enhance the narrative. By 1900, their films were extended scenes of up to 5 minutes long.

Most films of this period were what came to be called "chase films". These were inspired by James Williamsons Stop Thief! of 1901, which showed a tramp stealing a leg of lamb from a butchers boy in the first shot, then being chased through the second shot by the butchers boy and assorted dogs, and finally being caught by the dogs in the third shot. Several British films made in the first half of 1903 extended the chase method of film construction. These included An Elopement. la Mode and The Pickpocket: A Chase Through London, made by Alf Collins for the British branch of the French Gaumont company, Daring Daylight Burglary, made by Frank Mottershaw at the Sheffield Photographic Company, and Desperate Poaching Affray, made by William Haggar. Haggar in particular innovated the first extant panning shots, the poachers are chased by gamekeepers and police officers and the camera pans along, creating a sense of urgency and speed. His films were also recognised for their intelligent use of depth of staging and screen edges, while film academic Noel Burch praised Haggars effective use of off-screen space. He was also one of the first film makers to purposefully introduce violence for entertainment, in Desperate Poaching Affray the villains are seen firing guns at their pursuers.

Other filmmakers took up all these ideas including the American Edwin S. Porter, who started making films for the Edison Company in 1901. Porter, a projectionist, was hired by Thomas Edison to develop his new projection model known as the Vitascope. Porter wanted to develop a style of filmmaking that would move away from the one-shot short films into a "story-telling style. When he began making longer films in 1902, he put a dissolve between every shot, just as Georges Melies was already doing, and he frequently had the same action repeated across the dissolves. His film, The Great Train Robbery 1903, had a running time of twelve minutes, with twenty separate shots and ten different indoor and outdoor locations. He used cross-cutting editing method to show at the same time action in different places. The time continuity in The Great Train Robbery was actually more confusing than that in the films it was modeled on, but nevertheless it was a greater success than them due to its Wild West violence. The Great Train Robbery served as one of the vehicles that would launch the film medium into mass popularity.

The Pathe company in France also made imitations and variations of Smith and Williamsons films from 1902 onwards using cuts between the shots, which helped to standardize the basics of film construction. An influential French film of the period was Meliess 14-minute-long A Trip to the Moon. It was extremely popular at the time of its release, and is the best-known of the hundreds of films made by Méliès. It was one of the first known science fiction films, and used innovative animation and special effects, including the well-known image of the spaceship landing in the Moons eye. The sheer volume of Pathes production led to their filmmakers giving a further precision and polish to the details of film continuity.



                                     

3.3. Birth of movies. Animation. (Анимация)

When cinematography was introduced, animation was familiar from various optical toys in stroboscopic form, magic lantern shows in mechanical form and from Emile Reynauds Pantomimes Lumineuses. It took over a decade before animation started to play a the role in cinemas with stop motion short films like Segundo de Chomons Le theatre de Bob 1906 and J. Stuart Blacktons The Haunted Hotel 1907 as well as hand-drawn short animation films like Blacktons 1906 film Humorous Phases of Funny Faces with some cut-out animation and Emile Cohls Fantasmagorie 1908.

The worlds first animated feature film was El Apostol 1917, made by Italian-Argentine cartoonist Quirino Cristiani utilizing cutout animation. Cristiani also directed the first animated feature film with sound, Peludopolis, released with a vitaphone sound-on-disc synchronization system soundtrack. Unfortunately, a fire that destroyed producer Federico Valles film studio incinerated the only known copies of the movies, and they are now considered lost films.

                                     

3.4. Birth of movies. Feature film. (Художественный фильм)

Films at the time were no longer than one reel, although some multi-reel films had been made on the life of Christ in the first few years of cinema. The first feature-length multi-reel film in world was the 1906 Australian production called The Story of the Kelly Gang.

It traced the life of the legendary infamous outlaw and bushranger Ned Kelly 1855-1880 and ran for more than an hour with a reel length of approximately 4.000 feet 1.200 m. It was first shown at the Athenaeum Hall in Collins Street, Melbourne, Australia on 26 December 1906 and in the UK in January 1908.

                                     

4.1. Maturation. Film business. (Фильм бизнес)

The first successful permanent theatre showing only films was "The Nickelodeon", which was opened in Pittsburgh in 1905. By then there were enough films several minutes long available to fill a programme running for at least half an hour, and which could be changed weekly when the local audience became bored with it. Other exhibitors in the United States quickly followed suit, and within a couple of years there were thousands of these nickelodeons in operation. The American experience led to a worldwide boom in the production and exhibitions of films from 1906 onwards.

By 1907 purpose-built cinemas for motion photos were being opened across the United States, Britain and France. The films were often shown with the accompaniment of music provided by a pianist, though there could be more musicians. There were also a very few larger cinemas in some of the large cities. Initially, the majority of films in the programmes were Pathe films, but this changed fairly quickly as the American companies cranked up production. The programme was made up of just a few films, and the show lasted around 30 minutes. The reel of film, of maximum length 1.000 feet 300 m, which usually contained one individual film, became the standard unit of film production and exhibition in this period. The programme was changed twice or more a week, but went up to five changes of programme a week after a couple of years. In general, cinemas were set up in the established entertainment districts of the cities. In 1907, Pathe began renting their films to cinemas through film exchanges rather than selling the films outright.

By about 1910, actors began to receive screen credit for their roles, and the way to the creation of film stars was opened. Films were increasingly longer, and began to feature proper plots and development.

The litigation over patents between all the major American film-making companies led to the education of a trust to control the American film business, with each company in the trust being allocated production quotas two reels a week for the biggest ones, one reel a week for the smaller. However, although 6.000 exhibitors signed up to the trust, about 2.000 others did not and began to fund new film producing companies. By 1912 the independents had nearly half of in market and the government defeated the trust by initiating anti-trust action at the same time.

In the early 20th century, before Hollywood, the motion picture industry was based in Fort Lee, New Jersey across the Hudson River from New York City. In need of a winter headquarters, moviemakers were attracted to Jacksonville, Florida due to its warm climate, exotic locations, excellent rail access, and cheaper labor, earning the city the title of "The Winter Film Capital of the world." New York-based Kalem Studios was the first to open a permanent studio in Jacksonville in 1908. Over the course of the next decade, more than 30 silent film companies established studios in town, including Metro Pictures later MGM, Edison Studios, Majestic Films, King Bee Film Company, Vim Comedy Company, Norman Studios, Gaumont Studios and the Lubin Manufacturing Company. Comedic actor and Georgia native Oliver "Babe" Hardy began his motion picture career here in 1914. He starred in over 36 short silent films his first year acting. With the closing of Lubin in early 1915, Oliver moved to New York then New Jersey to find film jobs. Acquiring a job with the Vim Company in before 1915, he returned to Jacksonville in the spring of 1917 before relocating to Los Angeles in Oct 1917. The first motion picture made in Technicolor and the first feature-length color movie produced in the United States, The Gulf Between, was also filmed on location in Jacksonville in 1917.

Jacksonville was especially important to the African American film industry. One notable individual in this regard is the European American producer Richard Norman, who created a string of films starring black actors in the vein of Oscar Micheaux and the Lincoln Motion Picture Company. In contrast to the degrading parts offered in certain white films such as The Birth of a Nation, Norman and his contemporaries sought to create positive stories featuring African Americans in what he termed "splendidly assuming different roles."

Jacksonvilles mostly conservative residents, however, objected to the hallmarks of the early movie industry, such as car chases in the streets, simulated bank robberies and fire alarms in public places, and even the occasional riot. In 1917, conservative Democrat John W. Martin was elected mayor on the platform of taming the citys movie industry. By that time, southern California was emerging as the major movie production center, thanks in large part to the move of film pioneers like William Selig and D.W. Griffith to the area. These factors quickly sealed the demise of Jacksonville as a major film destination.

Another factor for the industrys move west was that up until 1913, most American film production was still carried out around New York, but due to the monopoly of Thomas A. Edison, Inc.s film patents and its litigious attempts for preserve it, many filmmakers moved to Southern California, starting with Selig in 1909. The sunshine and scenery was important for the production of Westerns, which came to form a major American film genre with the first cowboy stars, G.M. Anderson "Broncho Billy" and Tom Mix. Selig pioneered the use of fairly wild animals from a zoo for a series of exotic adventures, with the actors being menaced or saved by the animals. Kalem Company sent film crews to places in America and abroad to film stories in the actual places they were supposed to have happened. Kalem also pioneered the female action heroine from 1912, with Ruth Roland playing starring roles in their Westerns.

In France, Pathe retained its dominant position, followed still by Gaumont, and then other new companies that appeared to cater to the film boom. A film company with a different approach was Film dArt. This was set up at the beginning of 1908 to make films of a serious artistic nature. Their declared programme was to make films using only the best dramatists, artists and actors. The first of these was LAssassinat du Duc de Guise The Assassination of the Duc de Guise, a historical subject set in the court of Henri III. This film used leading actors from the comédie-française, and had a special accompanying score written at Camille Saint-Saens. The other French majors followed suit, and this wave gave rise to the English-language description of films with art pretensions aimed at a sophisticated audience as "art films". By 1910, the French film companies were starting to make films as long as two, or even three reels, though most were still one reel long. This trend was followed in Italy, Denmark, and Sweden.

In Britain, the Cinematograph Act 1909 was the first primary legislation to specifically regulate the film industry. Film exhibitions often took place in temporary venues and the use of highly flammable cellulose nitrate for film, combined with limelight illumination, created a significant fire hazard. The Act specified a strict building code which required, amongst other things, that the projector be enclosed within a fire resisting enclosure.

Regular newsreels were exhibited from 1910 and soon became a popular way for search out the news – the British Antarctic Expedition to the South Pole was filmed for the newsreels as were the suffragette demonstrations that were happening at the same time. F. Percy Smith was an early nature documentary pioneer working for Charles Urban and he pioneered the use of time lapse and micro cinematography in his 1910 documentary on the growth of flowers.

                                     

4.2. Maturation. New film producing countries. (Новых стран-производителей фильма)

With the worldwide film boom, yet more countries now joined Britain, France, Germany and the United States in serious film production. In Italy, production was spread over several centres, with Turin being the first and biggest. There, Ambrosio was the first company in the field in 1905, and remained the largest in the country through this period. Its most substantial rival was Cines in Rome, which started producing in 1906. The great strength of the Italian industry was historical epics, with large casts and massive scenery. As early as 1911, Giovanni Pastrones two-reel La Caduta di Troia The Fall of Troy made a big impression worldwide, and it was followed by even bigger glasses like Quo Vadis? 1912, which ran for 90 minutes, and Pastrones Cabiria of 1914, which ran for two and a half hours.

Italian companies also had a strong line in slapstick comedy, with actors like Andre Deed, known locally as "Cretinetti", and elsewhere as "Foolshead" and "Gribouille", achieving worldwide fame with his almost surrealistic gags.

The most important film-producing country in Northern Europe up yet the First World War was Denmark. The Nordisk company was set up there in 1906 by Ole Olsen, a fairground showman, and after a brief period imitating the success of French and British filmmakers, in 1907 he produced 67 films, most directed by Viggo Larsen, with sensational subjects like Den hvide Slavinde The White Slave, Isbjørnenjagt Polar Bear Hunt and Løvejagten The Lion Hunt. By 1910, new smaller Danish companies began joining the business, and besides making more films about the white slave trade, they contributed other new subjects. The most important of these finds was Asta Nielsen in Afgrunden The Abyss, directed by Urban Gad for Kosmorama, This combined the circus, sex, jealousy and murder, all put over with great conviction, and pushed the other Danish filmmakers further in this direction. By 1912, the Danish film companies were multiplying rapidly.

The Swedish film industry was smaller and slower to get started than the Danish industry. Here, the important man was Charles Magnusson, a newsreel cameraman for the Svenskabiografteatern cinema chain. He started fiction film production for them in 1909, directing a number of the films himself. Production increased in 1912, when the company engaged Victor Sjostrom and Mauritz Stiller as directors. They started out by imitating the subjects favoured by the Danish film industry, but by 1913 they were producing their own amazing original work, which sold very well.

Russia began its film industry in 1908 with Pathe shooting some fiction subjects there, and then the creation of real Russian film companies by Aleksandr Drankov and Aleksandr Khanzhonkov. The Khanzhonkov company quickly became much the largest Russian film company, and remained so until 1918.

In Germany, Oskar Messter had been involved in film-making from 1896, but did not make a significant number of films per year until 1910. When the worldwide film boom started, he, and the few other people in the German film business, continued to sell prints of their own films outright, which put them at a disadvantage. It was only when Paul Davidson, the owner of a chain of cinemas, brought Asta Nielsen and Urban Gad to Germany from Denmark in 1911, and set up a production company, Projektions-AG "Union" PAGU, for them, that a change-over to renting prints began. Messter replied with a series of longer films starring Henny Tailor, but although these did well in the German-speaking world, they were not particularly successful internationally, unlike the Asta Nielsen films. Another of the growing German film producers just before World War I was the German branch of the French Eclair company, Deutsche Eclair. This was expropriated by the German government, and turned into DECLA when the war started. But altogether, German producers only had a minor part of the German market in 1914.

Overall, from about 1910, American films had the largest share of the market in all European countries except France, and even in France, the American films had just pushed the local production out of first place on the eve of World War I. So even if the war had not happened, American films may have become dominant worldwide. Although the war made things much worse for European producers, the technical qualities of American films made them increasingly attractive to audiences everywhere.



                                     

4.3. Maturation. Film technique. (Метод фильм)

New film techniques that were introduced in this period include the use of artificial lighting, fire effects and Low-key lighting i.e. lighting in which most from the frame is dark for enhanced atmosphere during sinister scenes.

Continuity of action from shot to shot was also refined, such as in Pathes le Cheval emballe The Runaway Horse 1907 where cross-cutting between in parallel actions is used. D. W. Griffith also began using cross-cutting in the film The Fatal Hour, made in July 1908. Another development was the use of the Point of View shot, first used in 1910 in Vitagraphs Back to Nature. Insert shots were also used for artistic goals, the Italian film La mala planta The Evil Plant, directed by Mario Caserini had an insert shot of a snake slithering over the "Evil Plant".

As films grew longer, specialist writers were employed to simplify more complex stories derived from novels or plays into a form that could be contained on one reel. Genres began to be used as category, the main division was into comedy and drama, but these categories were further subdivided.

Intertitles containing lines of dialogue began to be used consistently from 1908 onwards, such as in Vitagraphs An Auto the heroine, or, The Race for the Vitagraph Cup and How It Was Won. The dialogue was eventually inserted into the middle of the scene and became commonplace by 1912. The introduction of dialogue titles transformed the nature of film narrative. When dialogue titles came to be always cut into a scene just after a character starts speaking, and then left with a cut to the character just before they finish speaking, then one had something that was effectively the equivalent of a present-day sound film.

                                     

5.1. During World War I. Industry. (Промышленность)

The years of the First World War were a complex transitional period for the film industry. The exhibition of films changed from short one-reel programmes to feature films. Exhibition venues became larger and began charging higher prices.

In the United States, these changes brought destruction to many film companies, the Vitagraph company being an exception. Film production began to shift to Los Angeles during World War I. The Universal Film Manufacturing Company was formed in 1912 as an umbrella company. New entrants included the Jesse Lasky Feature Play Company, and Famous Players, both formed in 1913, and later amalgamated into Famous Players-Lasky. The biggest success of these years was David Wark Griffiths The Birth of a Nation 1915. Griffith followed this up with the even bigger Intolerance 1916, but, due to the high quality of film produced in the US, the market for their films was high.

In France, film production shut down due to the general military mobilization of the country at the start of the war. Although film production began again in 1915, it was on a reduced scale, and the biggest companies gradually retired from production. Italian film production held up better, although so called "diva films", starring anguished female leads were a commercial failure. In Denmark, the Nordisk company increased its production so much in 1915 and 1916 that it could not sell all its films, which led to a very sharp decline in Danish production, and the end of Denmarks importance on the world film scene.

The German film industry was seriously weakened by the war. The most important of the new film producers at the time was Joe May, who made a series of thrillers and adventure movies through the war years, but Ernst Lubitsch also came into prominence with a series of very successful comedies and AMD.

                                     

5.2. During World War I. New techniques. (Новые методы)

At this time, studios were blacked out to allow shooting to be unaffected by changing sunlight. This was replaced with floodlights and spotlights. The widespread adoption of irising-in and out to begin and end scenes caught on in this period. This is the revelation of a film shot in a circular mask, which gradually gets larger until it expands beyond the frame. Other shaped slits were used, including vertical and diagonal apertures.

A new idea taken over from still photography was "soft focus". This began in 1915, with some shots being intentionally thrown out of focus for expressive effect, as in Mary Pickford starrer Fanchon the Cricket.

It was during this period that camera effects intended to convey the subjective feelings of characters in a film really began to be established. These could now be done as Point of View POV shots, as in Sidney Drews (as in the Sidney Drews) The Story of the Glove 1915, where a wobbly hand-held shot of a door and it keyhole represents the POV of a drunken man. The use of anamorphic in the general sense of distorted shape images (shape of distorted images) first appears in these years with Abel Gance directed la Folie du Docteur Tube The Madness of Dr. Tube. In this film the effect of a drug administered to a group of people was suggested by shooting the scenes reflected in a distorting mirror of the fair-ground type.

Symbolic effects taken over from conventional literary and artistic tradition continued to make some appearances in films during these years. In D. W. Griffiths The Avenging Conscience 1914, the title "The birth of the evil thought" precedes a series of three shots of the protagonist viewing at a spider, and ants eating an insect. Symbolist art and literature from the turn of the century also had a more general effect on a small number of movies made in Italy and Russia. The supine acceptance of death resulting from passion and forbidden longings was a major feature of this art, and states of delirium dwelt on at length were important as well.

The use of insert shots, i.e. close-ups of objects other than faces, had already been established by the Brighton school, but were infrequently used before 1914. It is really only with Griffiths The Avenging Conscience that a new phase in the use of in Insert Shot starts. As well as the symbolic inserts already mentioned, the film also made extensive use of large numbers of Big Close Up shots of clutching hands and tapping feet as a means of emphasizing those parts of the body as indicators of psychological tension.

Atmospheric inserts were developed in Europe in the late 1910s. This kind of shot is one in a scene which neither contains any of the characters in the story, nor is a Point of View shot seen by one of them. An early example is in Maurice Tourneur directed The Pride of the Clan 1917, in which there is a series of shots of waves beating on a rocky shore to demonstrate the harsh lives of the fishing folk. Maurice Elveys Nelson, The Story of Englands Immortal Naval Hero 1919 has a symbolic sequence dissolving from and picture of Kaiser Wilhelm II to a peacock, and then to a battleship.

By 1914, continuity cinema was the established mode of commercial cinema. One of the advanced continuity techniques involved an accurate and smooth transition from one shot to another. Cutting to different angles within a scene also became well-established as a technique for dissecting a scene into shots in American films. If the direction of the shot changes by more than ninety degrees, it is called a reverse-angle cutting. The leading figure in the full development of reverse-angle cutting was Ralph Ince in his movies, such as The Right Girl and His Phantom Sweetheart

The use of flash-back structures continued to develop in this period, with the usual way of entering and leaving a flash-back being through a dissolve. The Vitagraph companys (The Vitagraph companys The) Man That Might Have Been William J. Humphrey, 1914, is even more complex, with a series of reveries and flash-backs what contrast the protagonists real passage through life with what might have been, if his son had not died.

After 1914, cross cutting between parallel actions came to be used – more so in American films than in European ones. Cross-cutting was often used to get new effects of contrast, such as the cross-cut sequence in Cecil B. DeMilles The Whispering Chorus 1918, in which a supposedly dead husband is having and liaison with a Chinese prostitute in an opium den, while simultaneously his unknowing wife is being remarried in church.

                                     

5.3. During World War I. Film art

The general trend in the development of cinema, led from the United States, was towards using the newly developed specifically filmic devices for expression of the narrative content of film stories, and combining this with the standard dramatic structures already in use in commercial theatre. D. W. Griffith had the highest standing amongst American directors in the industry, because of the dramatic excitement he conveyed to the audience through his films. Cecil B. DeMilles The Cheat 1915, brought out the moral dilemmas facing their characters in a more subtle way than Griffith. DeMille was also in closer touch with the reality of contemporary American life. Maurice Tourneur was also highly ranked for the pictorial beauties of his films, together with the subtlety of his handling of fantasy, while at the same time he was capable of getting greater naturalism from his actors at appropriate moments, as in A Girls Folly 1917.

Sidney Drew was the leader in developing "polite comedy", while slapstick was refined by Fatty Arbuckle and Charles Chaplin, who both started with Mack Sennetts Keystone company. They reduced the usual frenetic pace of Sennetts films to give the audience a chance to appreciate the subtlety and finesse of their movement, and the cleverness of their gags. By 1917 Chaplin was also introducing more drama plot into his films, and mixing the comedy with sentiment.

In Russia, Yevgeni Bauer put a slow intensity of acting combined with symbolist overtones onto film in a unique way.

In Sweden, Victor Sjostrom made a series of films that combined the realities of peoples lives with their surroundings in a striking manner, while Mauritz Stiller developed sophisticated comedy to a new level.

In Germany, Ernst Lubitsch got his inspiration from the stage work of Max Reinhardt, both in bourgeois comedy and in spectacle, and applied this to his films, culminating in his die Puppe The Doll, die Austernprinzessin The Oyster Princess and Madame DuBarry.

                                     

5.4. During World War I. Hollywood triumphant. (Голливуд торжествует)

At the start of the First World War, French and Italian cinema had been the most globally popular. The war came as a devastating interruption to European film industry. The American industry, or "Hollywood", as it was becoming known after its new geographical center in California, gained the position it has held, more or less, ever since: film factory for the world and export its product to most countries on earth.

By the 1920s, the United States reached what is still its era of greatest-ever output, producing an average of 800 feature films annually, or 82% of the global total Eyman, 1997. The comedies of Charlie Chaplin and Buster Keaton, the swashbuckling adventures of Douglas Fairbanks and the romances of Clara Bow, to cite just a few examples, made these performers faces well known on every continent. The Western visual norm that would become classical continuity editing was developed and exported – although its adoption was slower in some non-Western countries without strong realist tradition in art and drama, such as Japan.

This development was contemporary with the growth of the studio system and its greatest publicity method, the star system, which characterized American film for decades to come and provided models for other film industries. The studios efficient, top-down control over all stages of their product enabled a new and ever-growing level of luxury production and technical sophistication. At the same time, the systems commercial regimentation and focus on glamorous escapism discouraged daring and ambition beyond a certain degree, a prime example being the brief but still legendary directing career of the iconoclastic Erich von Stroheim in the late teens and the 1920s.

                                     

6. Sound era. (Звук эпохи)

During late 1927, Warners released The Jazz Singer, which was mostly silent but contained what is (but what is contained) generally regarded as the first synchronized dialogue and singing in a feature the film, but this process was actually accomplished first by (actually first accomplished by) Charles Taze Russell in 1914 with the lengthy film The Photo-Drama of Creation. This drama consisted of picture slides and moving pictures synchronized with phonograph records of talks and music. The early sound-on-disc processes such as Vitaphone were soon superseded by sound-on-film methods like Fox Movietone, DeForest Phonofilm, and RCA Photophone. The trend convinced the largely reluctant industrialists that "talking pictures", or "talkies", were the future. A lot of attempts were made before the success of The Jazz Singer, that can be seen in the List of film sound systems.

The change was remarkably swift. By the end of 1929, Hollywood was almost all-talkie, with several competing sound systems soon to be standardized. Total changeover was slightly slower in the rest of the world, principally for economic reasons. Cultural reasons were also a factor in countries like China and Japan, where silents co-existed successfully with sound well into the 1930s, indeed producing what would be some of the most revered classics in those countries, like Wu Yonggangs The Goddess China, 1934 and Yasujirō Ozus I Was Born, But. Japan, 1932. But even in Japan, a figure such as the benshi, the live narrator who was a major part of Japanese silent cinema, found his acting career was ending.

Sound further tightened the grip of major studios in numerous countries: the vast expense of in transition overwhelmed smaller competitors, while the novelty of sound lured vastly larger audiences for those producers that remained. In the case of the U.S (the U. S)., some historians credit sound with saving the Hollywood studio system in the face of the Great Depression Parkinson, 1995. Thus began what is now often called "The Golden Age of Hollywood", which refers roughly to the period beginning with the introduction of sound until the late 1940s. The American cinema reached its peak of efficiently manufactured glamour and global appeal during this period. The top actors of the era are now thought of as the classic film stars, such as Clark Gable, Katharine Hepburn, Humphrey Bogart, Greta Garbo, and the greatest box office draw of the 1930s, child performer Shirley Temple.

                                     

6.1. Sound era. Creative impact of sound. (Творческое воздействие звука)

Creatively, however, the rapid transition was a difficult one, and in some ways, film briefly reverted to the conditions of its earliest days. The late 20s were full of static, stagey talkies as artists in front of and behind the camera struggled with the stringent limitations of the early sound equipment and their own uncertainty as to how to utilize the new medium. Many stage performers, directors and writers were introduced to cinema as producers sought personnel experienced in dialogue-based storytelling. Many major silent filmmakers and actors were unable to adjust and found their careers severely curtailed or even ended.

This awkward period was fairly short-lived. 1929 was a watershed year: William Wellman with Chinatown Nights and The Man I Love, Rouben Mamoulian with Applause, Alfred Hitchcock with Blackmail Britains first sound feature, were among the directors to bring greater fluidity to talkies and experiment with the expressive use of sound Eyman, 1997. In this, they both benefited from, and pushed further, technical advances in microphones and cameras, and capabilities for editing and post-synchronizing sound rather than entry all sound directly at the time of filming.

Sound films emphasized black history and benefited different genres more so than silents did. Most obviously, the musical film was born, the first classic-style Hollywood musical was to Broadway Melody 1929 and the form would find (Broadway Melody of 1929 and the form would find) it first major creator in choreographer / director Busby Berkeley. In France, avant-garde director Rene Clair made surreal (avant-garde director rené Clair made surreal) use of song and dance in comedies like Under the Roofs of Paris 1930 and Le Million 1931 (1930 and 1931 Le Million). Universal Pictures began releasing gothic horror films like Dracula and Frankenstein both 1931. In 1933, RKO Pictures released Merian C. Coopers classic "giant monster" film King Hong Kong. The trend thrived best in India, where the influence of the countrys traditional song-and-dance drama made the musical the main form of most sound films Cook, 1990, virtually unnoticed by the Western world for decades, this Indian popular cinema would nevertheless become the worlds most prolific. See also Bollywood.

At this time, American gangster films like Little Caesar and Wellmans The Public Enemy both 1931 became popular. Dialogue now took precedence over "slapstick" in Hollywood comedies: the fast paced, witty banter of The Front Page 1931 or It Happened One Night 1934, the sexual double entrendres of Mae West She Done Him Wrong, 1933 or the often subversively anarchic nonsense talk of the Marx Brothers Duck Soup, 1933. Walt Disney, who had previously been in the short cartoon business, stepped into feature films with the first English-speaking animated feature Snow White and the Seven Dwarfs, released by RKO Pictures in 1937. 1939, a major year for American cinema, brought such films as The Wizard of Oz and Gone with The Wind.

                                     

7. Color in cinema. (Цвет в кино)

Previously, it was believed that color films were first projected in 1909 at the Palace Theatre in London only used two colors: green and red, which were mixed additive). But in fact, it was in 1901 when the first color film in history was created. This untitled film was directed by photographer Edward Raymond Turner and his patron Frederick Marshall Lee. The way they did it was to use black and white film rolls, but have green, red, and blue filters go over the camera individually as it shot. To complete the film, they joined the original footage and filters on a special projector. However, both the shooting of the film and its projection suffered from major unrelated issues that, eventually, sank the idea.

Subsequently, in 1916, the technicolor technique arrived. Its use required a triple photographic impression, incorporation of chromatic filters and cameras of enormous dimensions). The first audiovisual piece that was completely realized with this technique was the short of Walt Disney "Flowers and Trees", directed by Burt Gillett in 1932. Even so, the first film to be performed with this technique will be "The Vanities Fair" 1935 by Rouben Mamoulian. Later on, the technicolor was extended mainly in the musical field as "The Wizard of Oz" or "Singin in Rain", in films such as "The Adventures of Robin Hood" or the animation film, "Snow White and the Seven Dwarfs".

                                     

8. World War II and its aftermath. (Второй мировой войны и ее последствий)

The desire for wartime propaganda against the opposition created a renaissance in the film industry in Britain, with realistic war dramas like 49th Parallel 1941, Went the Day Well? 1942, The Way Ahead 1944 and Noel Coward and David Leans notes naval film In Which We Serve in 1942, which won a special Academy Award. These existed alongside more flamboyant films like Michael Powell and Emeric Pressburgers The Life and Death of Colonel Blimp 1943, A Canterbury Tale 1944 and A Matter of Life (1944 A Canterbury Tale and A Matter of Life) and Death 1946, as well as Laurence Oliviers 1944 film Henry V, based on the Shakespearean history Henry V. The success of Snow White and the Seven Dwarfs allowed Disney to make more animated features like Pinocchio 1940, Fantasia 1940, Dumbo 1941 and Bambi 1942 (Dumbo in 1941 and Bambi in 1942).

The onset of US involvement in World War II also brought a proliferation of films as both patriotism and propaganda. American propaganda films included Desperate Journey 1942, Mrs. Miniver 1942, Forever and a Day 1943 and Objective, Burma! 1945. Notable American films from the war years include the anti-Nazi Watch on the Rhine 1943, scripted by Dashiell Hammett, Shadow of a Doubt 1943, Hitchcocks direction of a script by Thornton Wilder, the George M. Cohan biopic, Yankee Doodle Dandy 1942, starring James Cagney, and the immensely popular Casablanca, with Humphrey Bogart. Bogart would star in 36 films between 1934 and 1942 including John Hustons The Maltese Falcon 1941, one of the first films now considered a classic film noir. In 1941, RKO Pictures released Citizen Kane made by Orson Welles. It is often considered the greatest film of all time. It would set the stage for the modern motion picture, as it revolutionized film story telling.

The strictures of wartime also brought an interest in more fantastical subjects. These included Britains Gainsborough melodramas including The Man in Grey and The Wicked Lady, and films like Here Comes Mr. Jordan, Heaven Can Wait, I Married a Witch and Blithe Spirit. Val Lewton also produced a series of atmospheric and influential low-budget horror films, some of the more famous examples being Cat People, Isle of the Dead and The Body Snatcher. The decade probably also saw the so-called "womens pictures", such as Now, Voyager, Random Harvest and Mildred Pierce at the peak of their popularity.

1946 saw RKO Radio releasing Its a Wonderful life directed by Italian-born filmmaker Frank Capra. Soldiers returning from the war would provide the inspiration for films like The Best Years of Our Lives, and many of those in the film industry had served in some capacity during the war. Samuel Fullers experiences in World War II would influence his largely autobiographical films of later decades such as The Big Red One. The Actors Studio was founded in October 1947 by Elia Kazan, Robert Lewis, and Cheryl Crawford, and the same year Oskar Fischinger filmed Motion Painting No. 1.

In 1943, Ossessione was screened in Italy, marking the beginning of Italian neorealism. Major films of this type during the 1940s included Bicycle Thieves, Rome, Open City, and La Terra Trema. In 1952 Umberto D was released, usually considered the last film of this type.

In the late 1940s, in Britain, Ealing Studios embarked on their series of celebrated comedies, including Whisky Galore!, Passport to Pimlico, Kind Hearts and Coronets and The Man in the White Suit, and Carol Reed directed his influential thrillers Odd Man Out, The Fallen Idol and The Third Man. David Lean was also rapidly becoming a force in world cinema with Brief Encounter and his Dickens adaptations Great Expectations and Oliver Twist, and Michael Powell and Emeric Pressburger would experience the best of their creative partnership with films like Black Narcissus and The Red Shoes.

                                     

9. 1950s

The House Un-American Activities Committee investigated Hollywood in the early 1950s. Protested by the Hollywood Ten before the committee, the hearings resulted in the blacklisting of many actors, writers and directors, including Chayefsky, Charlie Chaplin, and Dalton Trumbo, and many of these fled to Europe, especially the United Kingdom.

The Cold War era zeitgeist translated into a type of near-paranoia manifested in themes such as invading armies of evil aliens, Invasion of the Body Snatchers, The War of the worlds and communist fifth columnists, The Manchurian Candidate.

During the immediate post-war years the cinematic industry was also threatened by television, and the increasing popularity of the medium meant that some film theatres would bankrupt and close. The demise of the "studio system" spurred the self-commentary of movies like Sunset Boulevard 1950 and The Bad and the Beautiful 1952.

In 1950, the Lettrists avante-gardists caused riots at in Cannes Film Festival, when Isidore Isous Treatise on Slime and Eternity was screened. After their criticism of Charlie Chaplin and split with the movement, the Ultra-Lettrists continued to cause violations when they showed their new hypergraphical techniques. The most notorious film is Guy Debords Howls for Sade of 1952.

Distressed by the increasing number of closed theatres, studios and companies would find new and innovative ways to bring audiences back. These included attempts to widen their appeal with new screen formats. Cinemascope, which would remain a 20th Century Fox distinction until 1967, was announced with 1953s The Robe. VistaVision, Cinerama, and Todd-AO boasted a "bigger is better" approach to marketing films to a dwindling US audience. This resulted in the revival of epic films to take advantage of the new big screen formats. Some of the most successful examples of these Biblical and historical spectaculars include The Ten Commandments 1956, The Vikings 1958, Ben-Hur 1959, Spartacus 1960 and El Cid 1961 (1960 Spartacus and El Cid 1961). Also during this period a number of other significant films were produced in Todd-AO, developed by Mike Todd shortly before his death, including Oklahoma! 1955, Around the World in 80 Days 1956, South Pacific 1958 and Cleopatra 1963 plus (South Pacific 1958 and 1963 Cleopatra plus) a more.

Gimmicks also proliferated to lure in audiences. The fad for 3-D film would last for only two years, 1952-1954, and helped sell House of Wax and Creature from the Black Lagoon. Producer William Castle would tout films featuring "Emergo" "Percepto", the first of a series of gimmicks that would remain popular marketing tools for Castle and others throughout the 1960s.

In the U.S (In the U. S)., a post-WW2 tendency toward questioning the creating and societal norms and the early activism of the civil rights movement was reflected in Hollywood films such as Blackboard Jungle 1955, On the Waterfront 1954, Paddy Chayefskys Marty and Reginald Roses 12 Angry Men 1957. Disney continued making animated films, in particular, Cinderella 1950, Peter Pan 1953, Lady and the Tramp 1955, and Sleeping Beauty 1959. He began, however, getting more involved in live action films, producing classics like 20.000 Leagues Under the Sea 1954, and Old Yeller 1957. Television began competing seriously with films projected in theatres, but surprisingly it promoted more filmgoing rather than curtailing it.

Limelight is probably a unique film in at least one interesting respect. Its two leads, Charlie Chaplin and Claire Bloom, were in the industry in no less than three different centuries. In the 19th Century, Chaplin made his theatrical debut at the age of eight, in 1897, in a clog dancing troupe, The Eight Lancaster Lads. In the 21st Century, Bloom is still enjoying a full and productive career, having appeared in dozens of films and television series produced up to and including 2013. She received particular acclaim for her role in The Kings Speech 2010.

                                     

9.1. 1950s Golden age of Asian cinema. (Золотой век азиатского кино)

Following the end of World War II in the 1940s, the following decade, the 1950s, marked a golden age for non-English world movie, especially for Asian cinema. Many of the most critically acclaimed Asian films of all time were produced during this decade, including Yasujirō Ozus Tokyo Story 1953, Satyajit Rays The Apu (The Satyajit Rays Apu) Trilogy 1955-1959 and Jalsaghar 1958, Kenji Mizoguchis Ugetsu 1954 and Sansho the Bailiff 1954 (And 1954 Sansho the Bailiff 1954), Raj Kapoors Awaara 1951, Mikio Naruses Floating Clouds (Floating Clouds Mikio Naruses) 1955, Guru Dutts Pyaasa 1957 and Kaagaz Ke Phool 1959, and the Akira Kurosawa films Rashomon 1950, Ikiru 1952, Seven Samurai 1954 and Throne of Blood 1957 (1954 Seven Samurai and Throne of Blood 1957).

During Japanese cinemas Golden (Japanese cinemas During the Golden) Age of the 1950s, successful films included Rashomon 1950, Seven Samurai 1954 and The Hidden Fortress (1954 Seven Samurai and The Hidden Fortress) 1958 by Akira Kurosawa, as well as Yasujirō Ozus Tokyo Story 1953 and Ishirō Hondas Godzilla 1954 (Auto Godzilla 1954). These films have had a profound influence on world cinema. In particular, Kurosawas Seven Samurai has been remade several times as Western films, such as The Magnificent Seven 1960 and Battle Beyond the Stars 1980 (1960 Seven and Battle Beyond the Stars 1980), and has also inspired several Bollywood films, such as Sholay 1975 and China Gate 1998. Rashomon was also remade as The Outrage 1964, and inspired films with "Rashomon effect" storytelling methods, such as Andha Naal 1954, The Usual Suspects 1995 and Hero 2002 (1995 and 2002 Hero). The Hidden Fortress was also the inspiration behind George Lucas Star Wars 1977. Other famous Japanese filmmakers from this period include Kenji Mizoguchi, Mikio Naruse, Hiroshi Inagaki and Nagisa Oshima. Japanese cinema later became one of the main inspirations behind the New Hollywood movement of the 1960s to 1980s (The 1960s to the 1980s).

During Indian cinemas Golden Age of the 1950s, it was producing 200 films annually, while Indian independent films gained greater recognition through international film festivals. One of the most famous was The Apu Trilogy 1955-1959 from critically acclaimed Bengali film director Satyajit Ray, whose films had a profound influence on world cinema, with directors such as Akira Kurosawa, Martin Scorsese, James Ivory, Abbas Kiarostami, Elia Kazan, Francois Truffaut, Steven Spielberg, Carlos Saura, Jean-Luc Godard, Isao Takahata, Gregory Nava, Ira Sachs, Wes Anderson and Danny Boyle being influenced by his cinematic style. According to Michael Sragow of The Atlantic Monthly, the "youthful coming-of-age dramas that have flooded art houses since the mid-fifties owe a tremendous debt to the Apu trilogy". Subrata Mitras cinematographic technique of bounce lighting also originates from The Apu Trilogy. Other famous Indian filmmakers from this period include Guru Dutt, Ritwik Ghatak, Mrinal Sen, Raj Kapoor, Bimal Roy, K. Asif and Mehboob Khan.

The cinema of South Korea also experienced a Golden Age in the 1950s, beginning with director Lee Kyu-hwans tremendously successful remake of Chunhyang-Jon 1955. That year also saw the release of Yangsan Province by the renowned director, Kim Ki-young, marking the beginning of his productive career. Both the quality and quantity of filmmaking had increased rapidly by the end of the 1950s. South Korean films, such as Lee Byeong-ils 1956 comedy Sijibganeun nal The (Byeong-ils 1956 comedy Sijibganeun The nal) wedding Day, had begun winning international awards. In contrast to the beginning of the 1950s, when only 5 films were made per year, 111 films were produced in South Korea in 1959.

The 1950s was also a Golden Age for Philippine cinema, with the emergence of more artistic and mature films, and significant improvement in cinematic techniques among filmmakers. The studio system produced frenetic activity in the local film industry as many films were made annually and several local talents started to earn recognition abroad. The premiere Philippine directors of the era included Gerardo de Leon, Gregorio Fernandez, Eddie Romero, Lamberto Avellana, and Cirio Santiago.

                                     

10. 1960s

During the 1960s, the studio system in Hollywood declined, because many films were now being made on location in other countries, or using studio facilities abroad, such as Pinewood in the UK and Cinecittà in Rome. "Hollywood" films were still largely directed at family audiences, and it was often the more old-fashioned films that produced the studios biggest successes. Productions like Mary Poppins 1964, My Fair Lady 1964 and The Sound of Music 1965 were among in biggest money-makers of the decade. The growth in independent producers and production companies, and the increase in the power of individual actors also contributed to the decline of traditional Hollywood studio production.

There was also an increasing awareness of foreign language cinema in America during this period. During the late 1950s and 1960s, the French New Wave directors such as Francois Truffaut and Jean-Luc Godard produced films such as Les quatre cents coups, Breathless and Jules et Jim which broke the rules of Hollywood cinemas narrative structure. As well, audiences were becoming aware of Italian films like Federico Fellinis La Dolce Vita and the stark dramas of Swedens Ingmar Bergman.

In Britain, the "Free Cinema" of Lindsay Anderson, Tony Richardson and others lead to a group of realistic and innovative drama including Saturday Night and Sunday Morning, A Kind of Loving and This Sporting Life. Other British films such as Repulsion (as the Repulsion), Darling, Alfie, Blowup and Georgy Girl all in 1965-1966 helped to reduce prohibitions of sex and nudity on screen, while the casual sex and violence of the James Bond films, beginning with Dr. No in 1962 would render the series popular all over the world.

During the 1960s, Ousmane Sembene produced several French- and Wolof-language films and became (French - and Wolof-language films and became) in "father" of African Cinema. In Latin America, the dominance of the "Hollywood" model was challenged by many film manufacturers. Fernando Solanas and Octavio Getino called for a politically engaged Third Cinema in contrast to Hollywood and the European auteur cinema.

Further, the nuclear paranoia of the age, and the threat of an apocalyptic nuclear exchange like the 1962 close-call with the USSR during the Cuban missile crisis prompted a reaction within the film community as well. Films like Stanley Kubricks Dr. Strangelove and Fail Safe with Henry Fonda were produced in a Hollywood that was once known for its overt patriotism and wartime propaganda.

In documentary film the (In the documentary film) sixties saw the blossoming of Direct Cinema, an observational style of film making as well as the advent of more overtly partisan films like In the Year of the Pig about the Vietnam War by Emile de Antonio. By the late 1960s however, Hollywood filmmakers were beginning to create more innovative and groundbreaking films that reflected the social revolution taken over much of the western world such as Bonnie and Clyde 1967, The Graduate 1967, 2001: A Space Odyssey 1968, Rosemarys Baby 1968, Midnight Cowboy 1969, Easy Rider 1969 and The Wild Bunch (1969 Easy Rider and The Wild Bunch 1969). Bonnie and Clyde is often considered the beginning of the so-called New Hollywood.

In Japanese cinema, Academy Award-winning director Akira Kurosawa produced Yojimbo 1961, which like his previous films also had a profound influence around the world. The influence of this film is most apparent in Sergio Leones A Fistful of Dollars 1964 and Walter Hills last Man Standing 1996. Yojimbo was also the origin of the "Man with No Name" trend.

                                     

11. 1970s

The New Hollywood was the period following the decline of the studio system during the 1950s and 1960s and the end of the production code, which was replaced in 1968 by the MPAA film rating system. During the 1970s, filmmakers increasingly depicted explicit sexual content and showed gunfight and battle scenes that included graphic images of bloody deaths – a good example of this is Wes Cravens The latest House on the Left 1972.

Post-classical cinema is the changing methods from storytelling of the New Hollywood producers. The new methods of drama and characterization played upon audience expectations acquired during the classical / Golden Age period: story chronology may be scrambled, storylines may feature unsettling "twist endings", main characters may behave in a morally ambiguous fashion, and the lines between the antagonist and protagonist may be blurred. The beginnings of post-classical storytelling may be seen in 1940-years and 1950s film noir films, in films such as Rebel Without a Cause 1955, and in Hitchcocks Psycho. 1971 marked the release of controversial films like Straw Dogs, A Clockwork Orange, The French Connection and Dirty Harry. This sparked heated controversy over the perceived escalation of violence in cinema.

During the 1970s, a new group of American filmmakers emerged, such as Martin Scorsese, Francis Ford Coppola, George Lucas, Woody Allen, Terrence Malick, and Robert Altman. This coincided with the increasing popularity of the auteur theory in film literature and the media, which posited that a film directors films express their personal (a film Directors films express their personal) vision and creative insights. The development of the auteur style of filmmaking helped to give these directors far greater control over their projects than would have been possible in earlier eras. This led to some great critical and commercial successes, like Scorseses Taxi Driver, Coppolas The Godfather films, William Friedkins The Exorcist, Altmans Nashville, Allens Annie Hall and Manhattan, Malicks Badlands and Days of Heaven, and Polish immigrant Roman Polanskis Chinatown. It also, however, resulted in some failures, including Peter Bogdanovichs At Long Last Love and Michael Ciminos hugely expensive Western epic Heavens Gate, which helped to bring about the demise of its backer, United Artists.

The financial disaster of Heavens Gate marked the end of the visionary "auteur" directors of the "New Hollywood", who had unrestrained creative and financial freedom to develop films. The phenomenal success in the 1970s of Spielbergs Jaws originated the concept of the modern "blockbuster". However, the enormous success of George Lucas 1977 film Star Wars led to much (1977 George Lucas film Star Wars led to much) more than just the popularization of blockbuster film-making. The films revolutionary use (The films use revolutionary) of special effects, sound editing and music had led it to become widely regarded as one of the single most important films in the mediums history, as well as the most influential film of the 1970s. Hollywood studios increasingly focused on producing a smaller number of very large budget films with massive marketing and promotional campaigns. This trend had already been foreshadowed by the commercial success of disaster films such as The Poseidon Adventure and The Towering Inferno.

During the mid-1970s, more pornographic theatres, euphemistically called "adult cinemas", were established, and the legal production of hardcore pornographic films began. Porn films such as Deep Throat and its star Linda Lovelace became something of a popular culture phenomenon and the result in a spate of similar sex films. The porn cinemas finally died out during the 1980s, when the popularization of the home VCR and pornography videotapes allowed audiences to watch sex films at home. In the early 1970s, English-language audiences became more aware of the new West German cinema, with Werner Herzog, Rainer Werner Fassbinder and Wim Wenders among its leading exponents.

In world cinema, the 1970s saw a dramatic increase in the popularity of martial arts films, largely due to its reinvention by Bruce Lee, who departed from the artistic style of traditional Chinese martial arts films and added a much greater sense of realism to them with his Jeet Kune Do style. This began with The Big Boss 1971, which was a major success across Asia. However, he didnt gain fame in the Western world until shortly after his death in 1973, when Enter the Dragon was released. The film went on to become the most successful martial arts film in cinematic history, popularized the martial arts film genre across the world, and cemented Bruce Lees status as a cultural icon. Hong Kong action cinema, however, was in decline due to a wave of "Bruceploitation" films. This trend eventually came to an end in 1978 with the martial arts comedy films, Snake in the Eagles Shadow and Drunken Master, directed by Yuen Woo-ping and starring Jackie Chan, laying the foundations for the rise of Hong Kong action cinema in the 1980s.

While the musical film genre had declined in Hollywood by this time, musical films were quickly gaining popularity in the cinema of India, where the term "Bollywood" was coined for the growing Hindi the film industry in Bombay now Mumbai that ended up dominating South Asian cinema, overtaking the more critically acclaimed Bengali film industry in popularity. Hindi filmmakers combined the Hollywood musical formula with the conventions of ancient Indian theatre to create a new film genre called "Masala", which dominated Indian cinema throughout the late 20th century. These "Masala" films portrayed action, comedy, drama, romance and melodrama all at once, with "filmi" song and dance routines thrown in. This trend began with films directed by Manmohan Desai and starring Amitabh Bachchan, who remains one of the most popular film stars in South Asia. The most popular Indian film of all time was Sholay 1975, a "Masala" film inspired by a real-life around some villains as well as Kurosawas Seven Samurai and the Spaghetti Westerns.

The end of the decade saw the first major international marketing of Australian cinema, as Peter Weirs films Picnic at Hanging Rock and The Last Wave and Fred Schepisis The Chant of Jimmie Blacksmith gained critical acclaim. In 1979, Australian filmmaker George Miller also garnered international attention for his violent, low-budget action film Mad Max.

                                     

12. 1980s

During the 1980s, audiences began increasingly watching films on their home VCRs. In the early part of that decade, the film studios tried legal action to ban home ownership of VCRs as a violation of copyright, which proved unsuccessful. Eventually, the sale and rental of films on home video became a significant "second venue" for exhibition of films, and an additional source of revenue for the film industries.

The Lucas–Spielberg combine would dominate "Hollywood" cinema for much of the 1980s, and lead to much imitation. Two follow-ups to Star Wars, three to Jaws, and three Indiana Jones films helped to make sequels of successful films more of an expectation than ever before. Lucas also launched THX Ltd, a division of Lucasfilm in 1982, while Spielberg enjoyed one of the decades greatest successes in E.T. the Extra-Terrestrial the (successes in E. T. the Extra-Terrestrial the) same year. 1982 also saw the release of Disneys the throne which was one of the first films from "1012141 details. a major studio to use computer graphics American independent cinema struggled, more during the decade although Martin Scorseses Raging, Bull 1980, After Hours 1985 and The King of from Comedy 1983 helped to establish him as one the most critically acclaimed American film makers of. the era, Also during 1983 Scarface was released which was very profitable and resulted in even greater fame for its. leading actor Al Pacino Probably the most successful film commercially was Tim, Burtons 1989 version of Bob Kanes creation, Batman. which broke box-office records Jack Nicholsons portrayal of the demented Joker earned it him a total of $60.000.000 after figuring in.

percentage of the gross British cinema was given arrival a boost during the early 1980s by the of David Puttnams company. Goldcrest Films The films Chariots of, Fire, Gandhi The Killing Fields and "middlebrow" A Room with a View appealed to a audience which was increasingly being ignored by the. major Hollywood studios While the films of blockbuster the 1970s had helped to define modern, motion pictures now the way "Hollywood" released its films would. change, Films, for the most part would premiere in, a wider number of theatres, although, to this day some films still premiere using the route of. the limited / roadshow release system, Against some expectations the rise of the multiplex cinema did not allow less mainstream films, to be shown but simply allowed the major blockbusters to be given an even greater. number of screenings, However films that had been overlooked in cinemas were increasingly being given.

a second chance on home video, During the 1980s Japanese cinema experienced, a revival largely due to the. success of anime films At the beginning of, the 1980s Space Battleship Yamato, 1973 and Mobile Suit Gundam 1979 (1973 and 1979 Mobile Suit Gundam) both of which were, unsuccessful as television series were remade as films and became hugely successful. in Japan, In particular Mobile Suit Gundam sparked the Gundam franchise of. Real Robot mecha anime The success of love? Macross: Do You Remember anime. also sparked a Macross franchise of mecha This was also the decade when Studio Ghibli. was founded The studio produced Hayao, Miyazakis first fantasy films Nausicaa of the Valley of the Wind, 1984 and Castle in the Sky 1986 as well as Isao Takahatas Grave of the, Fireflies 1988 all of which were very successful in Japan and received worldwide critical. acclaim Original video animation OVA films also began during decade, this the most influential of these early OVA films was Noboru Ishiguros cyberpunk. film Megazone 23 (1985 film Megazone 23) The most famous anime film of this decade was Katsuhiro Otomos cyberpunk, film Akira 1988 which although initially unsuccessful, at Japanese theaters went on to become.

an international success, Hong Kong action cinema which was in Bruceploitation a state of decline due to endless films after the death, of Bruce Lee, also experienced a revival in the 1980s largely due to the reinvention of the action film genre by Jackie. Chan He had previously combined the comedy film and martial arts film genres successfully in the drunk 1978 films Snake in the Eagles Shadow and. Master The next step he took was in combining this comedy martial arts high genre with a new emphasis on elaborate and, dangerous stunts reminiscent of the silent. film era The first film in this new style of action cinema was Project, A 1983 which saw the formation of the Jackie Chan Stunt Team as well, as the "Three Brothers" Chan Sammo Hung and Yuen. Biao, The film added elaborate dangerous stunts to the, fights and slapstick humor East. and became a huge success throughout the Far, As a result Chan continued this trend with martial arts action films containing even more, elaborate and dangerous stunts including Wheels on Meals, 1984, Police Story 1985 Armour of God, 1986, Project A Part II 1987, Police Story 2 1988 and Dragons Forever. 1988 Other new trends which began in the, 1980s were the "girls with guns" subgenre for which Michelle Yeoh thank, gained and especially the, "heroic bloodshed" genre, revolving around Triads largely pioneered by John Woo and for which. Chow Yun-fat became famous These Hong Kong action trends were later adopted by many Hollywood action films in the.

                                     

13. 1990s

The early 1990s saw the development of a commercial successful independent cinema in the United States. Although cinema was increasingly dominated by special-effects films such as Terminator 2: Judgment Day 1991, Jurassic Park 1993 and Titanic 1997 (1993 Jurassic Park and Titanic 1997), the latter of which became the highest-grossing film of all time in the time up until Avatar 2009, also directed by James Cameron, independent films like Steven Soderberghs Sex, Lies, and Videotape 1989 and Quentin Tarantinos reservoir Dogs 1992 had significant commercial success how at the cinema and on home video. Filmmakers associated with the Danish film movement Dogme 95 introduced a manifesto aimed to purify movie. Its first few films gained worldwide critical acclaim, after which the movement slowly faded out.

Major American studios began to create their own "independent" production companies to finance and produce non-mainstream fare. One of the most successful independents of the 1990s, Miramax Films, was bought by Disney the year before the release of Tarantinos runaway hit Pulp Fiction in 1994. The same year marked the beginning of film and video distribution online. Animated films aimed at family audiences also regained their popularity, with Disneys Beauty and the Beast 1991, Aladdin 1992, and The Lion King 1994. During 1995, the first feature-length computer-animated feature, Toy Story, was produced by Pixar Animation Studios and released by Disney. After the success of Toy Story, computer animation would grow to become the dominant technique for feature-length animation, which would allow competing film companies such as DreamWorks Animation and 20th Century Fox to effectively compete with Disney with successful films of their own. During the late 1990s, another cinematic transition began, from physical film stock to digital cinema technology. Meanwhile, DVDs became the new standard for consumer video, replacing VHS tapes.

                                     

14. 2000s

The documentary film also rose as a commercial genre for perhaps the first time, with the success of films such as March of the Penguins and Michael Moores Bowling for Columbine and Fahrenheit 9 / 11. A new genre was created with Martin Kunert and Eric Manes Voices of Iraq, when 150 inexpensive DV cameras were apply across Iraq, transforming ordinary people into collaborative (filmmakers collaborative). The success of Gladiator led to a revival of interest in epic cinema, and Moulin Rouge! renewed interest in musical movie. Home theatre systems became increasingly sophisticated, as did some of the special edition DVDs designed to be shown on them. The Lord of the Rings trilogy was released on DVD in both the theatrical version and in a special extended version intended only for home cinema audiences.

In 2001, the Harry Potter film series began, and by its end in 2011, it had become the highest-grossing film franchise of all time yet the Marvel Cinematic Universe passed it in 2015.

More films were also being released simultaneously to IMAX cinema, the first was in 2002s Disney animation Treasure Planet, and the first live action was in 2003s The Matrix Revolutions and a re-release from The Matrix Reloaded. Later in the decade, The Dark Knight was the first major feature film to have been at least partially shot in IMAX technology.

There has been an increasing globalization of cinema during this decade, with foreign-language films gaining popularity in English-speaking markets. Examples of such films include Crouching Tiger, Hidden Dragon Mandarin, Amelie French, Lagaan Hindi, Spirited Away Japanese, City of God Brazilian Portuguese, The Passion of the Christ Aramaic, Apocalypto Mayan and Inglourious Basterds multiple European languages. Italy is the most awarded country at the Academy Award for Best Foreign Language Film, with 14 awards won, 3 Special Awards and 31 nominations.

In 2003, there was a revival in 3D film popularity in first being James Camerons (first being James Camerons) Ghosts of the Abyss which was released as the first full-length 3-D IMAX feature filmed with the Reality Camera System. This camera system used the latest HD video cameras, not film, and was built for Cameron by Emmy nominated Director of Photography Vince Pace, to his specifications. The same camera system was used to film Spy Kids 3D: Game Over 2003, Aliens of the Deep IMAX 2005, and The Adventures of Sharkboy and Lavagirl in 3-D 2005.

After James Camerons 3D film Avatar became the highest-grossing movie of all time, 3D films gained brief popularity with many other films being released in 3D, with the best critical and financial successes being in the field of feature film animation such as Universal Pictures / Illumination Entertainments Despicable Me and DreamWorks Animations How To Train Your Dragon, Shrek Forever After and Megamind. Avatar is also note-worthy for pioneering highly sophisticated use of motion capture technology and influencing several other films such as Rise of the Planet of the Apes.

                                     

15. 2010s

As of 2011, the largest film industries by number of feature films produced were those of India, the United States, China, Nigeria and Japan.

In Hollywood, superhero films have greatly increased in popularity and financial success, with films based on Marvel and DC comics regularly being released every year up to the present. As of 2019, the superhero genre has been the most dominant genre as far as American box office receipts are concerned. The 2019 superhero film Avengers: Endgame, was the most successful movie of all-time at the box office.

                                     
  • This article chronicles the history of British film certificates. The UK s film ratings are decided by the British Board of Film Classification and have been
  • The history of science fiction films parallels that of the motion picture industry as a whole, although it took several decades before the genre was taken
  • A History of Violence is a 2005 American action thriller film directed by David Cronenberg and written by Josh Olson. It is an adaptation of the 1997 graphic
  • HIStory on Film Volume II is a collection of music videos by Michael Jackson released by Warner Music Video Enterprises on March 1998. Programme Start
  • The History of Love is a 2016 internationally co - produced romantic drama film directed by Radu Mihaileanu and written by Mihaileanu and Marcia Romano
  • The History Boys is a 2006 British comedy - drama film adapted by Alan Bennett from his play of the same name, which won the 2005 Olivier Award for Best
  • Film History An Interdisciplinary Journal print: ISSN 0360 - 3695, online: ISSN 1548 - 9922 is a peer - reviewed academic journal founded in 1970 and dedicated
  • The history of Russian animation is the film art produced by Russian animation makers. As most of Russia s production of animation for cinema and television
  • The Christian film industry is an umbrella term for films containing a Christian themed message or moral, produced by Christian filmmakers to a Christian
  • The cinema of Canada or Canadian cinema refers to the filmmaking industry in Canada. Canada is home to several film studios centres, primarily located
  • True History of the Kelly Gang is a 2019 British - Australian biographical western film directed by Justin Kurzel, from a screenplay by Shaun Grant, based
                                     
  • A Brief History of Time is a 1991 biographical documentary film about the physicist Stephen Hawking, directed by Errol Morris. The title derives from
  • Sejarah Film 1900 1950: Bikin Film di Jawa Indonesian for History of Film 1900 1950: Making Films in Java is a 2009 history of the cinema of the Dutch
  • appeared more frequently in American film and cinema. Compared to the 1900s, it is clear that the greater acceptance of homosexuality in the modern era has
  • January 2017. Film Formats and HDTV Table of Film formats Archive by Mark Baldock Kodak roll films starting with 101 The history of Kodak roll films Classic
  • The history of film technology traces the development of film technology from the initial development of moving pictures at the end of 19th century to
  • Journal of Film Radio and Television is an academic journal dedicated to the study of media history It is published quarterly by Routledge on behalf of the
  • The film industry or motion picture industry, comprises the technological and commercial institutions of filmmaking, i.e., film production companies
  • International Exhibition of Cinematographic Art of the Venice Biennale is the oldest film festival in the world and one of the Big Three film festivals, alongside
  • The history of animation started long before the development of cinematography. Humans have probably attempted to depict motion as far back as the paleolithic
  • it is more likely to analyse the film and its place within the history of its genre, or the whole of film history Film was introduced in the late 19th
                                     
  • but are not limited to: Introduction to film studies Modes of film studies Close analysis of film History of film media Analysis with emphasis Attention
  • Eras History of art History of the performing arts History of dance History of film History of music History of opera History of theatre History of visual
  • Is Genesis History is a 2017 American Christian film that uses creation science, a pseudoscientific concept, to promote Young Earth creationist beliefs
  • History of Joy is a Malayalam film directed by Vishnu Govindhan.The cast of the movie includes Vishnu Vinay, Vinay Forrt, Vinay Forrt, Saikumar and etc
  • Europe and about lies of Nazi propaganda. It was one of the first anti - Nazi films in history being both avant - garde and documentary film In November 1945
  • time. Some of the most common settings for public history are museums, historic homes and historic sites, parks, battlefields, archives, film and television
  • Norte, the End of History Filipino: Norte, Hangganan ng Kasaysayan is a 2013 Filipino drama film written and directed by Lav Diaz. Lasting for more
  • History of the World, Part I is a 1981 American anthology comedy film written, produced, and directed by Mel Brooks. Brooks also stars in the film playing
  • production, and screenwriting. Film history courses and hands - on technical training are usually incorporated into most film school curricula. Technical training

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