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Film
A film, also known as a movie or motion picture, is a work of visual art that simulates experiences and otherwise communicates ideas, stories, perceptions, emotions, or atmosphere through the use of moving images that are generally, since the 1930s, synchronized with sound and (less commonly) other sensory stimulations. The word “cinema” is borrowed from the French cinéma, an abbreviation of cinématographe (term coined by the Lumière brothers in the 1890s), from Ancient Greek meaning “recording movement”. The word is today usually used to refer to either a purpose-built venue for screening films, known as a movie theater in the US; the film industry; the overall art form of specifically just filmmaking.
The advent of film as an artistic medium is not clearly defined. There were earlier cinematographic screenings by others like the first showing of life sized pictures in motion 1884 in Berlin by Ottomar Anschütz; however, the commercial, public screening of ten Lumière brothers’ short films in Paris on 28 December 1895, can be regarded as the breakthrough of projected cinematographic motion pictures. 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. The first decade saw film move from a novelty, to an established mass entertainment industry, with film production companies and studios established throughout the world. Conventions toward a general cinematic language developed, with film editing, camera movements and other cinematic techniques contributing specific roles in the narrative of films.
In the early 1950s, the proliferation of black-and-white television started seriously depressing North American theater attendance. In an attempt to lure audiences back into theaters, bigger screens were installed, widescreen processes, polarized 3D projection, and stereophonic sound were introduced, and more films were made in color, which soon became the rule rather than the exception. Some important mainstream Hollywood films were still being made in black-and-white as late as the mid-1960s, but they marked the end of an era. Color television receivers had been available in the US since the mid-1950s, but at first, they were very expensive and few broadcasts were in color. During the 1960s, prices gradually came down, color broadcasts became common, and sales boomed. The overwhelming public verdict in favor of color was clear. After the final flurry of black-and-white films had been released in mid-decade, all Hollywood studio productions were filmed in color, with the usual exceptions made only at the insistence of “star” filmmakers such as Peter Bogdanovich and Martin Scorsese.
The Lumière brothers’ primary business interests were in selling cameras and film equipment to exhibitors, not the actual production of films. Despite this, filmmakers across the world were inspired by the potential of film as exhibitors brought their shows to new countries. This era of filmmaking, dubbed by film historian Tom Gunning as “the cinema of attractions”, offered a relatively cheap and simple way of providing entertainment to the masses. Rather than focusing on stories, Gunning argues, filmmakers mainly relied on the ability to delight audiences through the “illusory power” of viewing sequences in motion, much as they did in the Kinetoscope era that preceded it. Despite this, early experimentation with fiction filmmaking (both in actuality film and other genres) did occur. Films were mostly screened inside temporary storefront spaces, in tents of traveling exhibitors at fairs, or as “dumb” acts in vaudeville programs. During this period, before the process of post-production was clearly defined, exhibitors were allowed to exercise their creative freedom in their presentations. To enhance the viewers’ experience, some showings were accompanied by live musicians in an orchestra, a theatre organ, live sound effects and commentary spoken by the showman or projectionist.
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 in the United States, and by Osamu Tezuka in Japan, and adapted by other studios as cartoons moved from movie theaters to television. Although most animation studios are now using digital technologies in their productions, there is a specific style of animation that depends on film. Camera-less animation, made famous by film-makers like Norman McLaren, Len Lye, and Stan Brakhage, is painted and drawn directly onto pieces of film, and then run through a projector.
If a movie can illuminate the lives of other people who share this planet with us and show us not only how different they are but, how even so, they share the same dreams and hurts, then it deserves to be called great.
