Kamis, 29 November 2007

FILMMAKER

ubscribe at filmmakermagazine.com and get the next issue!!!!!! When we started Filmmaker in 1992, DIY moviemaking meant scoring recans, enrolling in a community college to get student discounts and free equipment, and buying an old flatbed editing table and sticking it in your kitchen. And unless you lucked out and nabbed a distribution deal from one of the new indie companies, marketing that film meant piling the reels in your backseat and driving from festival to festival to get people to see it. Today, as Filmmaker joins MySpace in its new MySpace Film page, the challenges that limited moviemaking to only the most masochistic have disappeared. Digital video has transformed both shooting and editing. Bloggers are spreading the word about films critics are ignoring. Video podcasting is creating a new, accessible and very personal style of filmmaking. And online communities like MySpace are connecting filmmakers who want to inspire each other and film viewers simply looking for something good to watch. As we build out our profile on MySpace, we'll also be doing here what we've done in the magazine: throwing a spotlight on some great movies and getting their directors to share with you the process of their productions. We'll be coming up with weekly picks of stuff you should know about, and we'll be offering a lot of advice on how to make movies. And we'll look forward to meeting filmmakers here, learning about your films, and hopefully helping by spreading the word. Scott Macaulay Editor
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Nagabonar Jadi 2

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Nagabonar Jadi 2
Directed by Deddy Mizwar
Produced by Tyas A Moein
Written by Musfar Yasin
Starring Deddy Mizwar
Tora Sudiro
Wulan Guritno
Lukman Sardi
Uli Herdinansyah
Darius Sinathrya
Michael Mulyadro
Music by Theorsi Argeswara
Editing by Tito Kurnianto
Country Indonesia
Preceded by Nagabonar

Naga Bonar Jadi 2 (Naga Bonar Becomes 2) is a sequel of the Indonesian film Naga Bonar (1987).

[edit] Synopsis

Nagabonar Jadi 2 is a comedy movie starring Deddy Mizwar and Tora Sudiro as father and son. This movie is a sequel to 1986 hit movie Nagabonar. The story is still about Nagabonar (Deddy Mizwar), a pickpocket who becomes a general during independence war. But now Nagabonar lives in the big city with his son Bonaga (Tora Sudiro). Bonaga is a businessman. Along with his three friends, Pomo (Darius Sinathrya), Ronnie (Uli Herdinansyah) and Jaki (Michael Muliadro) they run a big business. Conflict comes when Bonaga wants to sell his father palm plantation. Monita (Wulan Guritno) a consultant to Bonaga’s business tries to settle down the conflict between Bonaga and Nagabonar.

[edit] Cast

[edit] External links

This 2000s comedy film-related article is a stub. You can help Wikipedia by expanding it.
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Ada Apa dengan Cinta?

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(Redirected from What's Up with Love?)
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What's Up with Love?
Directed by Rudy Soedjarwo
Produced by Mira Lesmana
Riri Riza
Written by Jujur Prananto
Prima Rusdi
Starring Dian Sastrowardoyo
Nicholas Saputra
Titi Kamal
Distributed by Miles Productions
Release date(s) 8 February 2002
Running time 112 min
Language Indonesian
Budget ~ Rp 4 billion
IMDb profile

What's Up with Love? (Indonesian: Ada Apa dengan Cinta?) is a 2002 Indonesian film directed by Rudy Soedjarwo. The Indonesian title is actually an untranslatable word play, as Cinta (the Indonesian word for "love") is actually the name of the main character.

Contents

[hide]

[edit] Plot

Cinta is a popular teenage girl living a comfortable lifestyle, surrounded by a group of faithful friends, caring and supportive parents who are wealthy and happily married, giftedness and accomplishments, and the most popular boy in school having the hots for her. The story begins with Cinta and her four best friends crying on each other's shoulder for Alya, who suffered domestic abuse. Cinta recites the group's pledge to the buku curhat (a kind of diary/scrapbook the five girls share) that all problems any one of them is going through is to be shared with all, thus illustrating the closeness of their friendship.

Cinta and her four best friends are also the editors of the school bulletin board. Cinta is a reputable school poet, and in her final year of high school submits a beautiful poem to the yearly poetry contest, as she always had. While the crowd was cheering expectantly for Cinta to win the contest yet again, the grand prize is, to their surprise, awarded to Rangga. The crowd is even more gobsmacked when Rangga, rather than proudly receiving his prize on the podium, took offence and retreated to his lonely hiding place.

As a contrast, Rangga is a character whose name is rarely heard of in the school, whose best friend is the school janitor, lives in a lower middle-class neighbourhood with his former politician single father Yusrizal, dodging bomb threats periodically. Rangga's hurts include his parents' bitter divorce caused by Yusrizal's disengagement from the government office for exposing government corruption.

While being careful not to show it, Cinta is somewhat jealous of Rangga's unexpected victory. This jealousy as well as public curiosity leads Cinta to search for Rangga and request an interview for the bulletin. Rangga immediately detected the subtle insincerity in Cinta's congratulations and replied with a cold "I don't need your congratulations," and left. What Cinta perceived as Rangga's arrogance left Cinta rather irritated for some time. As it turned out, Rangga never entered his poem for the contest; it was submitted on his behalf by the school janitor. Cinta started finding herself admiring Rangga's poetry. The two began to keep in touch regularly due to a shared interest in rare classical Indonesian literature, and although constantly coloured with quarells and arguments, a friendship blossomed between the two. However, fear and pride prevented Cinta and Rangga to admit that they liked each other and that their friendship was evolving into something romantic.

Cinta and Rangga's secret friendship causes dramatic changes in Cinta's behaviour, thus resulting in problems with Cinta's group of girl friends. Rangga is not exempt from the consequences either; along with a few friends, popular rich boy Borné who had been trying to woo Cinta into a relationship corners up Rangga and beats him up. One day, a date with Rangga makes Cinta ignore a desperate phone call from Alya. This produces a tragic consequence and a crisis of trust among the five friends. Cinta's guilt and shame at herself causes her to lash out at Rangga and jeopardise their friendship. The question is, will the crisis ever be solved, and will Rangga and Cinta get back together? What's up with Cinta?

[edit] Analysis

The adventure of What's Up with Love? lies in the question of whether damages caused by the "forbidden romance" were reversible, and whether it was possible for Cinta to remain faithful to her girlfriends without losing Rangga. The film is coloured with Indonesian mainstream as well as sidestream values, elements of classical culture and politics, real issues encountered in teen life, and unique adventures and surprises. It is, however, artistically packaged in a format that is watcher-friendly to an audience.

[edit] Trivia

  • What's Up with Love? raised censorship controversies among conservative Muslims in Indonesia, being the first Indonesian teen movie that featured a kissing scene.
  • Shortly after its success, What's Up with Love? was adapted into a TV series version. However, the cast of the TV series is not the same people who played the film. When asked about his opinion on the TV series' casting on Prambors radio in 2003, Saputra expressly stated, "Rangga again? I'm bored (with playing him) already by now!"
  • A parody of a could-be scene in the movie, personally played by Saputra and Sastrowardoyo, was made into a commercial for a popular mall in Jakarta called Plaza Senayan.
  • The movie is known as Beautiful Days in Japan.

[edit] External links

Retrieved from "http://en.wikipedia.org/wiki/Ada_Apa_dengan_Cinta%3F"
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Cinema of Indonesia

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Southeast Asian cinema

The cinema of Indonesia has a long history but at present is a small, struggling industry.

Contents

[hide]

[edit] History

The first film made in Indonesia was the 1926 silent film, Loetoeng Kasaroeng, by Dutch directors G. Kruger and L. Heuveldorp. It was made with local actors by the NV Java Film Company in Bandung and premiered on December 31, 1926 at the Elite and Majestic Theatres in Bandung.[1] Since then, more than 2,200 feature films have been produced.

After its genesis during the Dutch colonial era, the Indonesian film industry was supported by the Japanese occupiers during the Second World War as a propaganda tool. After independence, the Sukarno government used it for nationalistic, anti-Western purposes. Foreign film imports were banned. After the overthrow of Sukarno by Suharto's New Order regime, films were regulated through a censorship code that aimed to maintain the social order.[2] Usmar Ismail, a director from West Sumatra made a major imprint in Indonesian film in the 1950s and 1960s.

The industry reached its peak in the 1980s, with such successful films as Catatan Si Boy and Blok M (1990). Actors during this era included Onky Alexander, Meriam Bellina, Nike Ardilla and Paramitha Rusady.[3]

However, by the 1990s imports of foreign films resumed, and the artistic quality of Indonesian films was reduced due to competition, especially from the US and Hong Kong. The number of movies produced decreased significantly, from 115 movies in 1990 to just 37 in 1993.[4] Rampant counterfeiting and television also contributed to the degradation of Indonesian cinema. The majority of films produced were exploitive, adult-themed B-movies shown in budget cinemas and outdoor screenings or direct-to-video or television.[3]

However, under the Reformasi movement of the post-Suharto era, independent filmmaking has seen a rebirth and films that address such previously prohibited topics as politics, race, religion, class conflict and sexuality are being made.[2]

Recent notable films include What's Up with Love? directed by Rudy Soedjarwo in 2002 and Arisan! starring Tora Sudiro, which was released in 2003. In 2005, Beauty and Warrior, Indonesia's first animated feature film was released. That same year Gie was released, a biopic of Indonesian activist Soe Hok Gie.

[edit] Film festivals

The major film festival of Indonesia is the Jakarta International Film Festival (JiFFest) held every year in December since 1998. The eighth festival began on the December 8, 2006 with Babel, a film starring Brad Pitt and Cate Blanchett. The 9th JiFFest will be held on December 7 - 16, 2007

Another event is the Indonesian Film Festival (Festival Film Indonesia/FFI), which has been held intermittently since 1955. From 1973 to 1992, the festival was held annually and then discontinued until it was revived in 2004. It hosts a competition, which hands out the Citra award.

[edit] Notable films

Arisan!
Arisan!

[edit] Actors

Notable actors include:

[edit] Directors

Notable film directors include:

[edit] Movie theaters

The biopic Gie was released in 2005.
The biopic Gie was released in 2005.

The largest movie theater chain in Indonesia is 21 Cineplex, which has cinemas spread throughout twenty-four cities on the islands of Sumatra, Java, Kalimantan, Bali and Sulawesi. However, many smaller independent cinemas also exist.

[edit] Bibliography

  • A to Z about Indonesian Film, Ekky Imanjaya (Bandung: Mizan, 2006).
  • Katalog Film Indonesia 1926-2005, JB Kristanto (Jakarta: Nalar, 2006). ISBN 9 79993953 4

[edit] See also

[edit] References

  1. ^ Robertson, Patrick (September 1993). The Guinness Book of Movie Facts & Feats. Abbeville Press. ISBN 1558596976.
  2. ^ a b Sen, Krishna; Giecko, Anne Tereska (editor) (2006). Contemporary Asian Cinema, Indonesia: Screening a Nation in the Post-New Order. Oxford/New York: Berg, 96-107. ISBN 1845202376.
  3. ^ a b Kompas
  4. ^ Kondisi Perfilman di Indonesia

[edit] External links

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Film

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This article is about motion pictures. For other uses, see Film (disambiguation).
"Moving picture" redirects here. For other uses, see Moving Pictures.
"Movie" redirects here. For other uses, see Movie (disambiguation).

 This article needs additional citations for verification.
Please help improve this article by adding reliable references. Unsourced material may be challenged and removed. (July 2007)

World cinema
East Asian cinema
South Asian cinema
Southeast Asian cinema
West Asian cinema

Film is a term that encompasses individual motion pictures, the field of film as an art form, and the motion picture industry. Films are produced by recording images from the world with cameras, or by creating images using animation techniques or special effects.

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

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

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

Contents

[hide]

History

Main article: History of film

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

A frame from Roundhay Garden Scene, the world's earliest film to date, by Louis Le Prince, 1888
A frame from Roundhay Garden Scene, the world's earliest film to date, by Louis Le Prince, 1888

With the development of celluloid film for still photography, it became possible to directly capture objects in motion in real time. Early versions of the technology sometimes required a person to look into a viewing machine to see the pictures which were separate paper prints attached to a drum turned by a handcrank. The pictures were shown at a variable speed of about 5 to 10 pictures per second depending on how rapidly the crank was turned. Some of these machines were coin operated. By the 1880s, the development of the motion picture camera allowed the individual component images to be captured and stored on a single reel, and led quickly to the development of a motion picture projector to shine light through the processed and printed film and magnify these "moving picture shows" onto a screen for an entire audience. These reels, so exhibited, came to be known as "motion pictures." Early motion pictures were static shots that showed an event or action with no editing or other cinematic techniques.

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

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

The rise of European cinema was interrupted by the breakout of World War I while the film industry in United States flourished with the rise of Hollywood. However in the 1920s, European filmmakers such as Sergei Eisenstein, F. W. Murnau, and Fritz Lang, along with American innovator D. W. Griffith and the contributions of Charles Chaplin, Buster Keaton and others, continued to advance the medium. In the 1920s, new technology allowed filmmakers to attach to each film a soundtrack of speech, music and sound effects synchronized with the action on the screen. These sound films were initially distinguished by calling them "talking pictures", or talkies.

The next major step in the development of cinema was the introduction of so-called "natural" color. While the addition of sound quickly eclipsed silent film and theater musicians, color was adopted more gradually as methods evolved making it more practical and cost effective to produce "natural color" films. The public was relatively indifferent to color photography as opposed to black-and-white,[citation needed] but as color processes improved and became as affordable as black-and-white film, more and more movies were filmed in color after the end of World War II, as the industry in America came to view color as essential to attracting audiences in its competition with television, which remained a black-and-white medium until the mid-1960s. By the end of the 1960s, color had become the norm for film makers.

Since the decline of the studio system in the 1960s, the succeeding decades saw changes in the production and style of film. New Hollywood, French New Wave and the rise of film school educated independent filmmakers were all part of the changes the medium experienced in the latter half of the 20th century. Digital technology has been the driving force in change throughout the 1990s and into the 21st century.

Theory

Main article: Film theory

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

Criticism

Main article: Film criticism

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

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

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

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

Industry

Main article: Film industry

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

In the United States today, much of the film industry is centered around Hollywood. Other regional centers exist in many parts of the world, such as Mumbai-centered Bollywood, the Indian film industry's Hindi cinema which produces the largest number of films in the world.[1] Whether the ten thousand-plus feature length films a year produced by the Valley pornographic film industry should qualify for this title is the source of some debate.[citation needed] Though the expense involved in making movies has led cinema production to concentrate under the auspices of movie studios, recent advances in affordable film making equipment have allowed independent film productions to flourish.

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

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

Production

Main article: Filmmaking

The nature of the film determines the size and type of crew required during filmmaking. Many Hollywood adventure films need computer generated imagery (CGI), created by dozens of 3D modellers, animators, rotoscopers and compositors. However, a low-budget, independent film may be made with a skeleton crew, often paid very little. Also, an open source film may be produced through open, collaborative processes. Filmmaking takes place all over the world using different technologies, styles of acting and genre, and is produced in a variety of economic contexts that range from state-sponsored documentary in China to profit-oriented movie making within the American studio system.

A typical Hollywood-style filmmaking Production cycle is comprised of five main stages:

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

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

Crew

Main article: Film crew

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

Independent

Main article: Independent film
The Lumière Brothers
The Lumière Brothers

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

On the business side, the costs of big-budget studio films also leads to conservative choices in cast and crew. There is a trend in Hollywood towards co-financing (over two-thirds of the films put out by Warner Bros. in 2000 were joint ventures, up from 10% in 1987).[2] A hopeful director is almost never given the opportunity to get a job on a big-budget studio film unless he or she has significant industry experience in film or television. Also, the studios rarely produce films with unknown actors, particularly in lead roles.

Before the advent of digital alternatives, the cost of professional film equipment and stock was also a hurdle to being able to produce, direct, or star in a traditional studio film. The cost of 35 mm film is outpacing inflation: in 2002 alone, film negative costs were up 23%, according to Variety.[2].

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

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

Open content film

Main article: Open content film

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

Fan film

Main article: Fan film

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

Animation

Main article: Animation

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

File formats like GIF, QuickTime, Shockwave and Flash allow animation to be viewed on a computer or over the Internet.

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

Limited animation is a way of increasing production and decreasing costs of animation by using "short cuts" in the animation process. This method was pioneered by UPA and popularized by Hanna-Barbera, and adapted by other studios as cartoons moved from movie theaters to television.[3]

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

Venues

When it is initially produced, a feature film is often shown to audiences in a movie theater or cinema. The first theater designed exclusively for cinema opened in Pittsburgh, Pennsylvania in 1905.[4] Thousands of such theaters were built or converted from existing facilities within a few years.[5] In the United States, these theaters came to be known as nickelodeons, because admission typically cost a nickel (five cents).

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

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

The movie theater pays an average of about 50-55% of its ticket sales to the movie studio, as film rental fees.[6] The actual percentage starts with a number higher than that, and decreases as the duration of a film's showing continues, as an incentive to theaters to keep movies in the theater longer. However, today's barrage of highly marketed movies ensures that most movies are shown in first-run theaters for less than 8 weeks. There are a few movies every year that defy this rule, often limited-release movies that start in only a few theaters and actually grow their theater count through good word-of-mouth and reviews. According to a 2000 study by ABN AMRO, about 26% of Hollywood movie studios' worldwide income came from box office ticket sales; 46% came from VHS and DVD sales to consumers; and 28% came from television (broadcast, cable, and pay-per-view).[6]

Technology

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

Originally moving picture film was shot and projected at various speeds using hand-cranked cameras and projectors; though 1000 frames per minute (16⅔ per second) is generally cited as a standard silent speed, research indicates most films were shot between 16 and 23 fps and projected from 18 fps on up (often reels included instructions on how fast each scene should be shown) [1]. When sound film was introduced in the late 1920s, a constant speed was required for the sound head. 24 frames per second was chosen because it was the slowest (and thus cheapest) speed which allowed for sufficient sound quality. Improvements since the late 19th century include the mechanization of cameras — allowing them to record at a consistent speed, quiet camera design — allowing sound recorded on-set to be usable without requiring large "blimps" to encase the camera, the invention of more sophisticated filmstocks and lenses, allowing directors to film in increasingly dim conditions, and the development of synchronized sound, allowing sound to be recorded at exactly the same speed as its corresponding action. The soundtrack can be recorded separately from shooting the film, but for live-action pictures many parts of the soundtrack are usually recorded simultaneously.

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

Some films in recent decades have been recorded using analog video technology similar to that used in television production. Modern digital video cameras and digital projectors are gaining ground as well. These approaches are extremely beneficial to moviemakers, especially because footage can be evaluated and edited without waiting for the film stock to be processed. Yet the migration is gradual, and as of 2005 most major motion pictures are still recorded on film.

Future state

While motion picture films have been around for more than a century, film is still a relative newcomer in the pantheon of fine arts. In the 1950s, when television became widely available, industry analysts predicted the demise of local movie theaters. Despite competition from television's increasing technological sophistication over the 1960s and 1970s, such as the development of color television and large screens, motion picture cinemas continued. In the 1980s, when the widespread availability of inexpensive videocassette recorders enabled people to select films for home viewing, industry analysts again wrongly predicted the death of the local cinemas.

In the 1990s and 2000s, the development of digital DVD players, home theater amplification systems with surround sound and subwoofers, and large LCD or plasma screens enabled people to select and view films at home with greatly improved audio and visual reproduction. These new technologies provided audio and visual that in the past, only local cinemas had been able to provide: a large, clear widescreen presentation of a film with a full-range, high-quality multi-speaker sound system. Once again, industry analysts predicted the demise of the local cinema. Local cinemas will be changing in the 2000s and moving towards digital screens, a new approach which will allow for easier, quicker distribution of films (via satellite or hard disks), a development which may give local theaters a reprieve from their predicted demise.

See also

 Film Portal

Wikibooks

Wikiversity

Wikiquote

Basic types

International

Other

Lists

Main lists: Lists of films, List of basic film topics, and List of film topics

Notes

  1. ^ Bollywood Hots Up cnn.com. Retrieved June 23, 2007
  2. ^ a b Sharing Pix is Risky Business variety.com. Retrieved June 23, 2007.
  3. ^ Savage, Mark (2006-12-19). Hanna Barbera's golden age of animation. BBC News. Retrieved on 2007-01-25.
  4. ^ Timothy McNulty (2005-06-19). You saw it here first: Pittsburgh's Nickelodeon introduced the moving picture theater to the masses in 1905. Pittsburgh Post-Gazette. Retrieved on 2007-01-25.
  5. ^ Pre-Nickelodeon/Nickelodeon. University of Maryland Libraries (2005-07-05). Retrieved on 2007-01-25.
  6. ^ a b PBS Frontline: The Monster that Ate Hollywood: Anatomy of a Monster: Now Playing ... And Playing ... And Playing ... pbs.org. Retrieved June 23, 2007

References

  • Acker, Ally (1991). Reel Women: Pioneers of the Cinema, 1896 to the Present. New York: Continuum. ISBN 0826404995.
  • Basten, Fred E. (1980). Glorious Technicolor: The Movies' Magic Rainbow. Cranbury, NJ: AS Barnes & Company. ISBN 0498023176.
  • Basten, Fred E. (writer); Peter Jones (director and writer); Angela Lansbury (narrator). (1998). Glorious Technicolor [Documentary]. Turner Classic Movies.
  • Casetti, Francesco (1999). Theories of Cinema, 1945-1995. Austin, TX: University of Texas Press. ISBN 0292712073.
  • Faber, Liz, & Walters, Helen (2003). Animation Unlimited: Innovative Short Films Since 1940. London: Laurence King, in association with Harper Design International. ISBN 1856693465.
  • Hagener, Malte, & Töteberg, Michael (2002). Film: An International Bibliography. Stuttgart: Metzler. ISBN 3476015238.
  • Hill, John, & Gibson, Pamela Church (1998). The Oxford Guide to Film Studies. Oxford; New York: Oxford University Press. ISBN 0198711247.
  • King, Geoff (2002). New Hollywood Cinema: An Introduction. New York: Columbia University Press. ISBN 0231127596.
  • Ledoux, Trish, & Ranney, Doug, & Patten, Fred (1997). Complete Anime Guide: Japanese Animation Film Directory and Resource Guide. Issaquah, WA: Tiger Mountain Press. ISBN 0964954257.
  • Merritt, Greg (2000). Celluloid Mavericks: A History of American Independent Film. New York: Thunder's Mouth Press. ISBN 1560252324.
  • Nowell-Smith, Geoffrey (1999). The Oxford History of World Cinema. Oxford; New York: Oxford University Press. ISBN 0198742428.
  • Rocchio, Vincent F. (2000). Reel Racism: Confronting Hollywood's Construction of Afro-American Culture. Boulder, CO: Westview Press. ISBN 0813367107.
  • Schrader, Paul (Spring 1972). "Notes on Film Noir". Film Comment Vol. 8 (Issue 1): pp. 8-13. ISSN 0015-119X.
  • Schultz, John (writer and director); James Earl Jones (narrator). (1995). The Making of 'Jurassic Park' [Documentary]. Amblin Entertainment.
  • Thackway, Melissa (2003). Africa Shoots Back: Alternative Perspectives in Sub-Saharan Francophone African Film. Bloomington, IL: Indiana University Press. ISBN 0852555768.
  • Vogel, Amos (1974). Film as a Subversive Art. New York: Random House. ISBN 0394490789.

External links

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