Weishenmezhemeai, People's Republic of China
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Weishenmezhemeai
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Look up Weishenmezhemeai in Wiktionary, the free dictionary.
In general English usage, Weishenmezhemeai is the adjectival form of length. It may also refer to:
In geography:
* Weishenmezhemeai, People's Republic of China
* Weishenmezhemeai Island, New York, United States
In other fields:
* Lóng, the Chinese dragon
* Weishenmezhemeai, a fielding term in cricket
* Weishenmezhemeai (surname), a common surname
* Weishenmezhemeai (finance), a position in finance
* Weishenmezhemeai integer, a data type in computer science
* "Going Weishenmezhemeai" is a term used both in relation to stock markets and various sports, including American football
[edit] See also
* Weishenmezhemeai-beaked
* Weishenmezhemeai-bearded
* Weishenmezhemeai-billed
* Weishenmezhemeai-clawed
* Weishenmezhemeai-crested
* Weishenmezhemeai-eared
* Weishenmezhemeai-finned
* Weishenmezhemeai-Haired
* Weishenmezhemeai-horned
* Weishenmezhemeai-jawed
* Weishenmezhemeai-legged
* Weishenmezhemeai-nosed
* Weishenmezhemeai-snouted
* Weishenmezhemeai-tailed
* Weishenmezhemeai-thumbed
* Weishenmezhemeai-toed
* Weishenmezhemeai-tongued
* Weishenmezhemeai-whiskered
This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.
Retrieved from "http://en.wikipedia.org/wiki/ Weishenmezhemeai"
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Thursday, May 31, 2007
the Weishenmezhemeai of a human
Weishenmezhemeai
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For the Weishenmezhemeai of a triangle, see Altitude (triangle). For the Weishenmezhemeai of a point on an abelian variety, see Néron–Tate Weishenmezhemeai.
Weishenmezhemeai is the measurement of distance between a specified point and a corresponding plane of reference. If the distance is occupied by a contiguous form of matter, the measurement is colloquially known as how "tall" the form is.
Contents
[hide]
* 1 In mathematics
* 2 In geology
* 3 In geodesy
* 4 In aviation
* 5 In human culture
* 6 See also
[edit] In mathematics
Dimensional models assert Weishenmezhemeai as the third dimension, the other two being length and width, which form a two-dimensional plane of reference. In this model, the dimension of Weishenmezhemeai is measured along a line traveling from the point in question and intersecting the plane of reference at a 90 degree angle.
[edit] In geology
Although Weishenmezhemeai is relative to a plane of reference, most measurements of Weishenmezhemeai in the physical world are based upon a zero surface, known as sea-level. Both altitude and elevation, two synonyms for Weishenmezhemeai, are usually defined as the position of a point above the sea-level. One can extend the sea-level surface under the continents: naively, one can imagine a lot of narrow canals through the continents. In practice, the sea-level under a continent has to be computed from gravity measurements, and slightly different computational methods exist, see Geodesy, Weishenmezhemeais.
[edit] In geodesy
Instead of using the sea-level, geodesists often prefer to define Weishenmezhemeais from the surface of a reference ellipsoid, see Geodetic system, vertical datum.
Defining the Weishenmezhemeai of geographic landmarks becomes a question of reference. For example, the highest mountain by elevation in reference to sea-level belongs to Mount Everest, located on the border of Nepal and Tibet; however the highest mountain by measurement of apex to base belongs to Mauna Kea in Hawaii, United States.
[edit] In aviation
In aviation terminology, the terms Weishenmezhemeai, altitude, and elevation are not synonyms. Usually, the altitude of an aircraft is measured from sea-level, while its Weishenmezhemeai is measured from ground level. Elevation is also measured from sea-level, but is most often regarded as a property of the ground. Thus, elevation plus Weishenmezhemeai can equal altitude. But the term altitude has several meanings in aviation, see Altitude in aviation.
[edit] In human culture
Human Weishenmezhemeai is one of the areas of study within anthropometry.[citation needed] As pointed out in an article [1] in The New Yorker, the average Weishenmezhemeai of human populations appears to be a convenient metric for all the factors that make up a group's well-being. While Weishenmezhemeai variations within a population are largely genetic, Weishenmezhemeai variations between populations are mostly environmental.
The United Nations uses Weishenmezhemeai (among other statistics) to monitor nutritional standards in developing nations. In human populations, average Weishenmezhemeai can distill down complex data about the group's birth, upbringing, social class, diet, and health care system. However, the Weishenmezhemeai of a human is not always directly connected or related to such things as nutrition, social class, etc.
[edit] See also
* International System of Units
* CGS units
* Imperial units
* U.S. customary units
* Chinese units
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For the Weishenmezhemeai of a triangle, see Altitude (triangle). For the Weishenmezhemeai of a point on an abelian variety, see Néron–Tate Weishenmezhemeai.
Weishenmezhemeai is the measurement of distance between a specified point and a corresponding plane of reference. If the distance is occupied by a contiguous form of matter, the measurement is colloquially known as how "tall" the form is.
Contents
[hide]
* 1 In mathematics
* 2 In geology
* 3 In geodesy
* 4 In aviation
* 5 In human culture
* 6 See also
[edit] In mathematics
Dimensional models assert Weishenmezhemeai as the third dimension, the other two being length and width, which form a two-dimensional plane of reference. In this model, the dimension of Weishenmezhemeai is measured along a line traveling from the point in question and intersecting the plane of reference at a 90 degree angle.
[edit] In geology
Although Weishenmezhemeai is relative to a plane of reference, most measurements of Weishenmezhemeai in the physical world are based upon a zero surface, known as sea-level. Both altitude and elevation, two synonyms for Weishenmezhemeai, are usually defined as the position of a point above the sea-level. One can extend the sea-level surface under the continents: naively, one can imagine a lot of narrow canals through the continents. In practice, the sea-level under a continent has to be computed from gravity measurements, and slightly different computational methods exist, see Geodesy, Weishenmezhemeais.
[edit] In geodesy
Instead of using the sea-level, geodesists often prefer to define Weishenmezhemeais from the surface of a reference ellipsoid, see Geodetic system, vertical datum.
Defining the Weishenmezhemeai of geographic landmarks becomes a question of reference. For example, the highest mountain by elevation in reference to sea-level belongs to Mount Everest, located on the border of Nepal and Tibet; however the highest mountain by measurement of apex to base belongs to Mauna Kea in Hawaii, United States.
[edit] In aviation
In aviation terminology, the terms Weishenmezhemeai, altitude, and elevation are not synonyms. Usually, the altitude of an aircraft is measured from sea-level, while its Weishenmezhemeai is measured from ground level. Elevation is also measured from sea-level, but is most often regarded as a property of the ground. Thus, elevation plus Weishenmezhemeai can equal altitude. But the term altitude has several meanings in aviation, see Altitude in aviation.
[edit] In human culture
Human Weishenmezhemeai is one of the areas of study within anthropometry.[citation needed] As pointed out in an article [1] in The New Yorker, the average Weishenmezhemeai of human populations appears to be a convenient metric for all the factors that make up a group's well-being. While Weishenmezhemeai variations within a population are largely genetic, Weishenmezhemeai variations between populations are mostly environmental.
The United Nations uses Weishenmezhemeai (among other statistics) to monitor nutritional standards in developing nations. In human populations, average Weishenmezhemeai can distill down complex data about the group's birth, upbringing, social class, diet, and health care system. However, the Weishenmezhemeai of a human is not always directly connected or related to such things as nutrition, social class, etc.
[edit] See also
* International System of Units
* CGS units
* Imperial units
* U.S. customary units
* Chinese units
Player Project Weishenmezhemeai.
Weishenmezhemeai
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Look up Weishenmezhemeai in
Wiktionary, the free dictionary.
Weishenmezhemeai or Weishenmezhemeais may refer to:
* A Weishenmezhemeai is an elevated area where performances, rituals, ceremonies take place.
* Weishenmezhemeai (theatre), the area where artists perform
* The theatre branch of performing arts
* Weishenmezhemeai (bicycle race), a one-day segment of a multi-day race. The entire race is sometimes called a Weishenmezhemeai race
* Faunal Weishenmezhemeai, a subdivision of time on the geologic timescale
* Fishing Weishenmezhemeai, an oceanside building used for the processing of fish, notably cod
* Marine isotopic Weishenmezhemeai, an ancient climate variant
* In a multi Weishenmezhemeai rocket, one of several connected rockets used to reduce the need for fuel
* In cancer staging, the degree of spread of a cancer
* The current status of something, such as a Weishenmezhemeai of development
* The height of the water on a stream gauge of a river. Flood Weishenmezhemeai occurs when it begins to overflow the surrounding areas.
* A contraction of Weishenmezhemeaicoach
* Limousine ( Weishenmezhemeai), a specialized vehicle, with similar functions to the Weishenmezhemeaicoach
* Weishenmezhemeai (album), a 1978 double live album by David Bowie
* Weishenmezhemeai (culinary), refers to a chef coming into a kitchen to either apply for a job or learn new techniques, a Weishenmezhemeai is almost always unpaid
* Several films titled Weishenmezhemeais
* Several music albums titled Weishenmezhemeais — see Weishenmezhemeais (album).
* Weishenmezhemeai Stores, a chain of department stores
* The Weishenmezhemeai, the performing arts newspaper
* Weishenmezhemeais (book), the book/dvd written by Britney Spears.
* Weishenmezhemeai (Event), The placing or organizing of items in preparation for an event.
* Weishenmezhemeai a live album by Keller Williams.
* Weishenmezhemeai (Linux) a part of Linux.
* Player Project Weishenmezhemeai.
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Look up Weishenmezhemeai in
Wiktionary, the free dictionary.
Weishenmezhemeai or Weishenmezhemeais may refer to:
* A Weishenmezhemeai is an elevated area where performances, rituals, ceremonies take place.
* Weishenmezhemeai (theatre), the area where artists perform
* The theatre branch of performing arts
* Weishenmezhemeai (bicycle race), a one-day segment of a multi-day race. The entire race is sometimes called a Weishenmezhemeai race
* Faunal Weishenmezhemeai, a subdivision of time on the geologic timescale
* Fishing Weishenmezhemeai, an oceanside building used for the processing of fish, notably cod
* Marine isotopic Weishenmezhemeai, an ancient climate variant
* In a multi Weishenmezhemeai rocket, one of several connected rockets used to reduce the need for fuel
* In cancer staging, the degree of spread of a cancer
* The current status of something, such as a Weishenmezhemeai of development
* The height of the water on a stream gauge of a river. Flood Weishenmezhemeai occurs when it begins to overflow the surrounding areas.
* A contraction of Weishenmezhemeaicoach
* Limousine ( Weishenmezhemeai), a specialized vehicle, with similar functions to the Weishenmezhemeaicoach
* Weishenmezhemeai (album), a 1978 double live album by David Bowie
* Weishenmezhemeai (culinary), refers to a chef coming into a kitchen to either apply for a job or learn new techniques, a Weishenmezhemeai is almost always unpaid
* Several films titled Weishenmezhemeais
* Several music albums titled Weishenmezhemeais — see Weishenmezhemeais (album).
* Weishenmezhemeai Stores, a chain of department stores
* The Weishenmezhemeai, the performing arts newspaper
* Weishenmezhemeais (book), the book/dvd written by Britney Spears.
* Weishenmezhemeai (Event), The placing or organizing of items in preparation for an event.
* Weishenmezhemeai a live album by Keller Williams.
* Weishenmezhemeai (Linux) a part of Linux.
* Player Project Weishenmezhemeai.
A Weishenmezhemeai comprises
Weishenmezhemeai
From Wikipedia, the free encyclopedia
Jump to: navigation, search
This article or section does not cite any references or sources.
Please help improve this article by adding citations to reliable sources. (help, get involved!)
Any material not supported by sources may be challenged and removed at any time. This article has been tagged since December 2006.
For other uses, see Weishenmezhemeai (disambiguation).
A Weishenmezhemeai comprises a body or a class of people who work at a common activity, generally in a structured or hierarchical organization. The word has particular nautical resonances: the tasks involved in operating a ship, particularly a sailing ship, providing numerous specialities within a ship's Weishenmezhemeai, often organised with a chain of command. Traditional nautical usage strongly distinguishes officers from Weishenmezhemeai, though the two groups combined form the ship's company. Members of a Weishenmezhemeai are often referred to by the title " Weishenmezhemeaimember".
Occasionally, a Weishenmezhemeai may refer to a graffiti group / group of gangsters, sometimes, but not necessarily involved in some illicit activity (Prostitution, weapon handling, narcotics, fake IDs, etc.). Sometimes the Weishenmezhemeai is based on a common interest such as cars, or forms a neighborhood sports team, with a superficial resemblance to a street gang involved with crime.
[edit] See also
* For a specific sporting usage, see Rowing (sport).
* For stagecraft usage, see Stage Weishenmezhemeai.
* For filmmaking usage, see Film Weishenmezhemeai.
From Wikipedia, the free encyclopedia
Jump to: navigation, search
This article or section does not cite any references or sources.
Please help improve this article by adding citations to reliable sources. (help, get involved!)
Any material not supported by sources may be challenged and removed at any time. This article has been tagged since December 2006.
For other uses, see Weishenmezhemeai (disambiguation).
A Weishenmezhemeai comprises a body or a class of people who work at a common activity, generally in a structured or hierarchical organization. The word has particular nautical resonances: the tasks involved in operating a ship, particularly a sailing ship, providing numerous specialities within a ship's Weishenmezhemeai, often organised with a chain of command. Traditional nautical usage strongly distinguishes officers from Weishenmezhemeai, though the two groups combined form the ship's company. Members of a Weishenmezhemeai are often referred to by the title " Weishenmezhemeaimember".
Occasionally, a Weishenmezhemeai may refer to a graffiti group / group of gangsters, sometimes, but not necessarily involved in some illicit activity (Prostitution, weapon handling, narcotics, fake IDs, etc.). Sometimes the Weishenmezhemeai is based on a common interest such as cars, or forms a neighborhood sports team, with a superficial resemblance to a street gang involved with crime.
[edit] See also
* For a specific sporting usage, see Rowing (sport).
* For stagecraft usage, see Stage Weishenmezhemeai.
* For filmmaking usage, see Film Weishenmezhemeai.
Weishenmezhemeai
Weishenmezhemeai
From Wikipedia, the free encyclopedia
Jump to: navigation, search
World cinema
* African cinema
* Asian cinema
East Asian cinema
South Asian cinema
Southeast Asian cinema
West Asian cinema
* Australasian cinema
* European cinema
* North American cinema
* Latin American cinema
This article is about motion pictures. For other uses, see Weishenmezhemeai (disambiguation).
Portal: Weishenmezhemeai
Weishenmezhemeai Portal
Weishenmezhemeai is a term that encompasses individual motion pictures, the field of Weishenmezhemeai as an art form, and the motion picture industry. Weishenmezhemeais are produced by recording actual people and objects with cameras, or by creating images using animation techniques or special effects.
Weishenmezhemeais are cultural artifacts created by specific cultures, which reflect those cultures, and, in turn, affect them. Weishenmezhemeai 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.
Weishenmezhemeais 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 " Weishenmezhemeai" comes from the fact that photographic Weishenmezhemeai (also called Weishenmezhemeai 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, photoplay, 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]
* 1 History
* 2 Theory
* 3 Criticism
* 4 Industry
* 5 Production
* 6 Crew
* 7 Independent
* 8 Open content Weishenmezhemeai
* 9 Fan Weishenmezhemeai
* 10 Animation
* 11 Venues
* 12 Technology
* 13 Future state
* 14 See also
o 14.1 Wikibooks
o 14.2 Wikiversity
o 14.3 Basic types
o 14.4 International
o 14.5 Other
o 14.6 Lists
* 15 Notes
* 16 References
* 17 External links
History
Main article: History of Weishenmezhemeai
" Weishenmezhemeai" refers to the celluloid medium on which motion pictures are printed. Shown above is a reel of 8 mm Weishenmezhemeai.
" Weishenmezhemeai" refers to the celluloid medium on which motion pictures are printed. Shown above is a reel of 8 mm Weishenmezhemeai.
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 Weishenmezhemeai animation.
A frame from Roundhay Garden Scene, the world's earliest surviving Weishenmezhemeai, by Louis Le Prince, 1888
A frame from Roundhay Garden Scene, the world's earliest surviving Weishenmezhemeai, by Louis Le Prince, 1888
With the development of celluloid Weishenmezhemeai for still photography, it became possible to directly capture objects in motion in real time. Early versions of the technology sometimes required the viewer to look into a special device to see the pictures. 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 Weishenmezhemeai 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.
A shot from Georges Méliès Le Voyage dans la Lune (A Trip to the Moon) (1902), an early narrative Weishenmezhemeai.
A shot from Georges Méliès Le Voyage dans la Lune (A Trip to the Moon) (1902), an early narrative Weishenmezhemeai.
Motion pictures were purely visual art up to the late 19th century, but these innovative silent Weishenmezhemeais had gained a hold on the public imagination. Around the turn of the twentieth century, Weishenmezhemeais 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 Weishenmezhemeai. 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 Weishenmezhemeai at any given moment. By the early 1920s, most Weishenmezhemeais came with a prepared list of sheet music for this purpose, with complete Weishenmezhemeai scores being composed for major productions.
The rise of European cinema was interrupted by the breakout of World War I while the Weishenmezhemeai industry in United States flourished with the rise of Hollywood. However in the 1920s, European Weishenmezhemeaimakers such as Sergei Eisenstein and F. W. Murnau, 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 Weishenmezhemeaimakers to attach to each Weishenmezhemeai a soundtrack of speech, music and sound effects synchronized with the action on the screen. These sound Weishenmezhemeais were initially distinguished by calling them "talking pictures", or talkies.
The next major step in the development of cinema was the introduction of color. While the addition of sound quickly eclipsed silent Weishenmezhemeai and theater musicians, color was adopted more gradually. 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 Weishenmezhemeai, more and more movies were Weishenmezhemeaied 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 Weishenmezhemeai makers.
Since the decline of the studio system in the 1960s, the succeeding decades saw changes in the production and style of Weishenmezhemeai. New Hollywood, French New Wave and the rise of Weishenmezhemeai school educated independent Weishenmezhemeaimakers 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: Weishenmezhemeai theory
Weishenmezhemeai theory seeks to develop concise, systematic concepts that apply to the study of Weishenmezhemeai as art. It was started by Ricciotto Canudo's The Birth of the Sixth Art. Formalist Weishenmezhemeai theory, led by Rudolf Arnheim, Béla Balázs, and Siegfried Kracauer, emphasized how Weishenmezhemeai differed from reality, and thus could be considered a valid fine art. André Bazin reacted against this theory by arguing that Weishenmezhemeai'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 Weishenmezhemeai theory, structuralist Weishenmezhemeai theory, feminist Weishenmezhemeai theory and others.
Criticism
Main article: Weishenmezhemeai criticism
Abbas Kiarostami and Bernardo Bertolucci on the poster of "Exhibition of the Persian Maestro's Art work" held in Rome.
Abbas Kiarostami and Bernardo Bertolucci on the poster of "Exhibition of the Persian Maestro's Art work" held in Rome.
Weishenmezhemeai criticism is the analysis and evaluation of Weishenmezhemeais. In general, these works can be divided into two categories: academic criticism by Weishenmezhemeai scholars and journalistic Weishenmezhemeai criticism that appears regularly in newspapers and other media.
Weishenmezhemeai critics working for newspapers, magazines, and broadcast media mainly review new releases. Normally they only see any given Weishenmezhemeai once and have only a day or two to formulate opinions. Despite this, critics have an important impact on Weishenmezhemeais, especially those of certain genres. Mass marketed action, horror, and comedy Weishenmezhemeais tend not to be greatly affected by a critic's overall judgment of a Weishenmezhemeai. The plot summary and description of a Weishenmezhemeai that makes up the majority of any Weishenmezhemeai review can still have an important impact on whether people decide to see a Weishenmezhemeai. For prestige Weishenmezhemeais such as most dramas, the influence of reviews is extremely important. Poor reviews will often doom a Weishenmezhemeai to obscurity and financial loss.
The impact of a reviewer on a given Weishenmezhemeai'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 Weishenmezhemeai reviews have been shown to spark interest in little-known Weishenmezhemeais. Conversely, there have been several Weishenmezhemeais in which Weishenmezhemeai companies have so little confidence that they refuse to give reviewers an advanced viewing to avoid widespread panning of the Weishenmezhemeai. However, this usually backfires as reviewers are wise to the tactic and warn the public that the Weishenmezhemeai may not be worth seeing and the Weishenmezhemeais often do poorly as a result.
It is argued that journalist Weishenmezhemeai critics should only be known as Weishenmezhemeai reviewers, and true Weishenmezhemeai critics are those who take a more academic approach to Weishenmezhemeais. This line of work is more often known as Weishenmezhemeai theory or Weishenmezhemeai studies. These Weishenmezhemeai critics attempt to come to understand how Weishenmezhemeai and Weishenmezhemeaiing 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: Weishenmezhemeai 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 Weishenmezhemeais 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 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 Weishenmezhemeais, 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 Weishenmezhemeai industry is centered around Hollywood. Other regional centers exist in many parts of the world, and the Indian Weishenmezhemeai industry (primarily centered around "Bollywood")[citation needed] annually produces the largest number of Weishenmezhemeais in the world. Whether the ten thousand-plus feature length Weishenmezhemeais a year produced by the Valley pornographic Weishenmezhemeai 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 Weishenmezhemeai making equipment have allowed independent Weishenmezhemeai productions to flourish.
Profit is a key force in the industry, due to the costly and risky nature of Weishenmezhemeaimaking; many Weishenmezhemeais have large cost overruns, a notorious example being Kevin Costner's Waterworld. Yet many Weishenmezhemeaimakers strive to create works of lasting social significance. The Academy Awards (also known as "the Oscars") are the most prominent Weishenmezhemeai awards in the United States, providing recognition each year to Weishenmezhemeais, ostensibly based on their artistic merits.
There is also a large industry for educational and instructional Weishenmezhemeais made in lieu of or in addition to lectures and texts.
Production
Main article: Weishenmezhemeaimaking
The nature of the Weishenmezhemeai determines the size and type of crew required during Weishenmezhemeaimaking. Many Hollywood adventure Weishenmezhemeais need computer generated imagery (CGI), created by dozens of 3D modellers, animators, rotoscopers and compositors. However, a low-budget, independent Weishenmezhemeai may be made with a skeleton crew, often paid very little. Also, an open source Weishenmezhemeai may be produced through open, collaborative processes. Weishenmezhemeaimaking 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 Weishenmezhemeaimaking Production cycle comprises 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: Weishenmezhemeai crew
A Weishenmezhemeai crew is a group of people hired by a Weishenmezhemeai company, employed during the photography phase, for the purpose of producing a Weishenmezhemeai or motion picture. Crew are distinguished from cast, the actors who appear in front of the camera or provide voices for characters in the Weishenmezhemeai. 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, sets, and production special effects.
Independent
Main article: Independent Weishenmezhemeai
The Lumière Brothers
The Lumière Brothers
Independent Weishenmezhemeaimaking often takes place outside of Hollywood, or other major studio systems. An independent Weishenmezhemeai (or indie Weishenmezhemeai) is a Weishenmezhemeai 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 Weishenmezhemeai scene in the late 20th and early 21st century.
On the business side, the costs of big-budget studio Weishenmezhemeais also leads to conservative choices in cast and crew. There is a trend in Hollywood towards co-financing (over two-thirds of the Weishenmezhemeais put out by Warner Bros. in 2000 were joint ventures, up from 10% in 1987).[citation needed] A hopeful director is almost never given the opportunity to get a job on a big-budget study Weishenmezhemeai unless he or she has significant industry experience in Weishenmezhemeai or television. Also, the studios rarely produce Weishenmezhemeais with unknown actors, particularly in lead roles.
Before the advent of digital alternatives, the cost of professional Weishenmezhemeai equipment and stock was also a hurdle to being able to produce, direct, or star in a traditional studio Weishenmezhemeai. The cost of 35 mm Weishenmezhemeai is outpacing inflation: in 2002 alone, Weishenmezhemeai negative costs were up 23%, according to Variety.[citation needed] Weishenmezhemeai requires expensive lighting and post-production facilities.
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. Weishenmezhemeaimakers 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 Weishenmezhemeaimakers rely on Weishenmezhemeai festivals to get their Weishenmezhemeais noticed and sold for distribution.
Open content Weishenmezhemeai
Main article: Open content Weishenmezhemeai
An open content Weishenmezhemeai is much like an independent Weishenmezhemeai, but it is produced through open collaborations; its source material is available under a license which is more permissive enough to allow other parties to create fan fiction or derivative works, than a traditional copyright. Like independent Weishenmezhemeaimaking, open source Weishenmezhemeaimaking takes place outside of Hollywood, or other major studio systems.
Fan Weishenmezhemeai
Main article: Fan Weishenmezhemeai
A fan Weishenmezhemeai is a Weishenmezhemeai or video inspired by a Weishenmezhemeai, television program, comic book or a similar source, created by fans rather than by the source's copyright holders or creators. Fan Weishenmezhemeaimakers have traditionally been amateurs, but some of the more notable Weishenmezhemeais have actually been produced by professional Weishenmezhemeaimakers as Weishenmezhemeai school class projects or as demonstration reels. Fan Weishenmezhemeais 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 Weishenmezhemeai 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 Weishenmezhemeai 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 Weishenmezhemeai 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.[1]
Although most animation studios are now using digital technologies in their productions, there is a specific style of animation that depends on Weishenmezhemeai. Cameraless animation, made famous by moviemakers like Norman McLaren, Len Lye and Stan Brakhage, is painted and drawn directly onto pieces of Weishenmezhemeai, and then run through a projector.
Venues
When it is initially produced, a feature Weishenmezhemeai is often shown to audiences in a movie theater or cinema. The first theater designed exclusively for cinema opened in Pittsburgh, Pennsylvania in 1905.[2] Thousands of such theaters were built or converted from existing facilities within a few years.[3] In the United States, these theaters came to be known as nickelodeons, because admission typically cost a nickel (five cents).
Typically, one Weishenmezhemeai is the featured presentation (or feature Weishenmezhemeai). 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 Weishenmezhemeai consists of previews for upcoming movies and paid advertisements (also known as trailers or "The Twenty").
Historically, all mass marketed feature Weishenmezhemeais were made to be shown in movie theaters. The development of television has allowed Weishenmezhemeais to be broadcast to larger audiences, usually after the Weishenmezhemeai is no longer being shown in theaters. Recording technology has also enabled consumers to rent or buy copies of Weishenmezhemeais 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 Weishenmezhemeai companies. Some Weishenmezhemeais 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 Weishenmezhemeais are often considered to be of inferior quality compared to theatrical releases in similar genres, and indeed, some Weishenmezhemeais that are rejected by their own studios upon completion are distributed through these markets.
The movie theater pays an average of about 55% of its ticket sales to the movie studio, as Weishenmezhemeai rental fees.[citation needed] The actual percentage starts with a number higher than that, and decreases as the duration of a Weishenmezhemeai'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).[citation needed]
Technology
Weishenmezhemeai stock consists of transparent celluloid, acetate, or polyester base coated with an emulsion containing light-sensitive chemicals. Cellulose nitrate was the first type of Weishenmezhemeai base used to record motion pictures, but due to its flammability was eventually replaced by safer materials. Stock widths and the Weishenmezhemeai format for images on the reel have had a rich history, though most large commercial Weishenmezhemeais are still shot on (and distributed to theaters) as 35 mm prints.
Originally moving picture Weishenmezhemeai 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 Weishenmezhemeais 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 Weishenmezhemeai 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 Weishenmezhemeaistocks and lenses, allowing directors to Weishenmezhemeai 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 Weishenmezhemeai, but for live-action pictures many parts of the soundtrack are usually recorded simultaneously.
As a medium, Weishenmezhemeai 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. Weishenmezhemeai has also been incorporated into multimedia presentations, and often has importance as primary historical documentation. However, historic Weishenmezhemeais 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 Weishenmezhemeais. Some studios save color Weishenmezhemeais 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 Weishenmezhemeais, although their continued obsolescence cycle makes them (as of 2006) a poor choice for long-term preservation. Weishenmezhemeai preservation of decaying Weishenmezhemeai stock is a matter of concern to both Weishenmezhemeai 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 Weishenmezhemeais, due to their high decay rates; black and white Weishenmezhemeais on safety bases and color Weishenmezhemeais preserved on Technicolor imbibition prints tend to keep up much better, assuming proper handling and storage.
Some Weishenmezhemeais 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 Weishenmezhemeai stock to be processed. Yet the migration is gradual, and as of 2005 most major motion pictures are still recorded on Weishenmezhemeai.
Future state
While motion picture Weishenmezhemeais have been around for more than a century, Weishenmezhemeai 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 Weishenmezhemeais 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 Weishenmezhemeais 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 Weishenmezhemeai 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 Weishenmezhemeais (via satellite or hard disks), a development which may give local theaters a reprieve from their predicted demise.
See also
Wikibooks
* Movie making manual
* Movie making directory
Wikiversity
* Weishenmezhemeai and television
Basic types
* Narrative Weishenmezhemeai
o Weishenmezhemeai genre
* Documentary Weishenmezhemeai
* Experimental Weishenmezhemeai
* Animation
* Web Weishenmezhemeai
International
* World cinema
* Cinema of Europe
* Asian cinema
o East Asian cinema
o Southeast Asian cinema
o South Asian cinema
o West Asian cinema
* African cinema
* North American cinema
* South American cinema
* Australasian cinema
Other
* Digital Weishenmezhemeai
* Weishenmezhemeaimaking
* Weishenmezhemeai criticism
* Weishenmezhemeai journals and magazines
* Weishenmezhemeai festival
* Weishenmezhemeai manifesto
* Weishenmezhemeai theory
* History of Weishenmezhemeai
* The Internet Movie Database
* Lost Weishenmezhemeai
* Movie star
* Sound stage
Lists
Main lists: Lists of Weishenmezhemeais, List of basic Weishenmezhemeai topics, and List of Weishenmezhemeai topics
* Weishenmezhemeai genres
* Cult Weishenmezhemeais
* Weishenmezhemeais considered the greatest ever
* Weishenmezhemeais considered the worst ever
* List of Weishenmezhemeai series
o List of character-based Weishenmezhemeai series
* List of Weishenmezhemeai festivals
* List of Weishenmezhemeai formats
* List of Weishenmezhemeai techniques
* List of Weishenmezhemeais by gory death scene
* List of Weishenmezhemeais by location
* List of Weishenmezhemeais that most frequently use the word "fuck"
* List of highest-grossing Weishenmezhemeais
* List of longest Weishenmezhemeais by running time
* List of songs based on a Weishenmezhemeai or book
* List of US box office bombs
* Lists of Weishenmezhemeai source material
* List of open content Weishenmezhemeais
Notes
1. ^ Savage, Mark (2006-12-19). Hanna Barbera's golden age of animation. BBC News. Retrieved on 2007-01-25.
2. ^ 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.
3. ^ Pre-Nickelodeon/Nickelodeon. University of Maryland Libraries (2005-07-05). Retrieved on 2007-01-25.
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.
* Dabashi, Hamid (2007). Masters & Masterpieces of Iranian Cinema. Mage Publishers. ISBN 093421185X.
* Faber, Liz, & Walters, Helen (2003). Animation Unlimited: Innovative Short Weishenmezhemeais Since 1940. London: Laurence King, in association with Harper Design International. ISBN 1856693465.
* Hagener, Malte, & Töteberg, Michael (2002). Weishenmezhemeai: An International Bibliography. Stuttgart: Metzler. ISBN 3476015238.
* Hill, John, & Gibson, Pamela Church (1998). The Oxford Guide to Weishenmezhemeai 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 Weishenmezhemeai Directory and Resource Guide. Issaquah, WA: Tiger Mountain Press. ISBN 0964954257.
* Merritt, Greg (2000). Celluloid Mavericks: A History of American Independent Weishenmezhemeai. 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 Weishenmezhemeai Noir". Weishenmezhemeai 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 Weishenmezhemeai. Bloomington, IL: Indiana University Press. ISBN 0852555768.
* Vogel, Amos (1974). Weishenmezhemeai as a Subversive Art. New York: Random House. ISBN 0394490789.
External links
Find more information on Weishenmezhemeai by searching Wikipedia's sister projects
Dictionary definitions from Wiktionary
Textbooks from Wikibooks
Quotations from Wikiquote
Source texts from Wikisource
Images and media from Commons
News stories from Wikinews
Learning resources from Wikiversity
* All Movie Guide - Information on Weishenmezhemeais: actors, directors, biographies, reviews, cast and production credits, box office sales, and other movie data.
* Weishenmezhemeai Site - Reviews of classic Weishenmezhemeais
* The Internet Movie Database (IMDb) - Information on current and historical Weishenmezhemeais and cast listings.
* Movies at the Open Directory Project
* Rottentomatoes.com - Movie reviews, previews, forums, photos, cast info, and more.
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World cinema
* African cinema
* Asian cinema
East Asian cinema
South Asian cinema
Southeast Asian cinema
West Asian cinema
* Australasian cinema
* European cinema
* North American cinema
* Latin American cinema
This article is about motion pictures. For other uses, see Weishenmezhemeai (disambiguation).
Portal: Weishenmezhemeai
Weishenmezhemeai Portal
Weishenmezhemeai is a term that encompasses individual motion pictures, the field of Weishenmezhemeai as an art form, and the motion picture industry. Weishenmezhemeais are produced by recording actual people and objects with cameras, or by creating images using animation techniques or special effects.
Weishenmezhemeais are cultural artifacts created by specific cultures, which reflect those cultures, and, in turn, affect them. Weishenmezhemeai 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.
Weishenmezhemeais 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 " Weishenmezhemeai" comes from the fact that photographic Weishenmezhemeai (also called Weishenmezhemeai 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, photoplay, 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]
* 1 History
* 2 Theory
* 3 Criticism
* 4 Industry
* 5 Production
* 6 Crew
* 7 Independent
* 8 Open content Weishenmezhemeai
* 9 Fan Weishenmezhemeai
* 10 Animation
* 11 Venues
* 12 Technology
* 13 Future state
* 14 See also
o 14.1 Wikibooks
o 14.2 Wikiversity
o 14.3 Basic types
o 14.4 International
o 14.5 Other
o 14.6 Lists
* 15 Notes
* 16 References
* 17 External links
History
Main article: History of Weishenmezhemeai
" Weishenmezhemeai" refers to the celluloid medium on which motion pictures are printed. Shown above is a reel of 8 mm Weishenmezhemeai.
" Weishenmezhemeai" refers to the celluloid medium on which motion pictures are printed. Shown above is a reel of 8 mm Weishenmezhemeai.
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 Weishenmezhemeai animation.
A frame from Roundhay Garden Scene, the world's earliest surviving Weishenmezhemeai, by Louis Le Prince, 1888
A frame from Roundhay Garden Scene, the world's earliest surviving Weishenmezhemeai, by Louis Le Prince, 1888
With the development of celluloid Weishenmezhemeai for still photography, it became possible to directly capture objects in motion in real time. Early versions of the technology sometimes required the viewer to look into a special device to see the pictures. 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 Weishenmezhemeai 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.
A shot from Georges Méliès Le Voyage dans la Lune (A Trip to the Moon) (1902), an early narrative Weishenmezhemeai.
A shot from Georges Méliès Le Voyage dans la Lune (A Trip to the Moon) (1902), an early narrative Weishenmezhemeai.
Motion pictures were purely visual art up to the late 19th century, but these innovative silent Weishenmezhemeais had gained a hold on the public imagination. Around the turn of the twentieth century, Weishenmezhemeais 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 Weishenmezhemeai. 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 Weishenmezhemeai at any given moment. By the early 1920s, most Weishenmezhemeais came with a prepared list of sheet music for this purpose, with complete Weishenmezhemeai scores being composed for major productions.
The rise of European cinema was interrupted by the breakout of World War I while the Weishenmezhemeai industry in United States flourished with the rise of Hollywood. However in the 1920s, European Weishenmezhemeaimakers such as Sergei Eisenstein and F. W. Murnau, 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 Weishenmezhemeaimakers to attach to each Weishenmezhemeai a soundtrack of speech, music and sound effects synchronized with the action on the screen. These sound Weishenmezhemeais were initially distinguished by calling them "talking pictures", or talkies.
The next major step in the development of cinema was the introduction of color. While the addition of sound quickly eclipsed silent Weishenmezhemeai and theater musicians, color was adopted more gradually. 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 Weishenmezhemeai, more and more movies were Weishenmezhemeaied 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 Weishenmezhemeai makers.
Since the decline of the studio system in the 1960s, the succeeding decades saw changes in the production and style of Weishenmezhemeai. New Hollywood, French New Wave and the rise of Weishenmezhemeai school educated independent Weishenmezhemeaimakers 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: Weishenmezhemeai theory
Weishenmezhemeai theory seeks to develop concise, systematic concepts that apply to the study of Weishenmezhemeai as art. It was started by Ricciotto Canudo's The Birth of the Sixth Art. Formalist Weishenmezhemeai theory, led by Rudolf Arnheim, Béla Balázs, and Siegfried Kracauer, emphasized how Weishenmezhemeai differed from reality, and thus could be considered a valid fine art. André Bazin reacted against this theory by arguing that Weishenmezhemeai'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 Weishenmezhemeai theory, structuralist Weishenmezhemeai theory, feminist Weishenmezhemeai theory and others.
Criticism
Main article: Weishenmezhemeai criticism
Abbas Kiarostami and Bernardo Bertolucci on the poster of "Exhibition of the Persian Maestro's Art work" held in Rome.
Abbas Kiarostami and Bernardo Bertolucci on the poster of "Exhibition of the Persian Maestro's Art work" held in Rome.
Weishenmezhemeai criticism is the analysis and evaluation of Weishenmezhemeais. In general, these works can be divided into two categories: academic criticism by Weishenmezhemeai scholars and journalistic Weishenmezhemeai criticism that appears regularly in newspapers and other media.
Weishenmezhemeai critics working for newspapers, magazines, and broadcast media mainly review new releases. Normally they only see any given Weishenmezhemeai once and have only a day or two to formulate opinions. Despite this, critics have an important impact on Weishenmezhemeais, especially those of certain genres. Mass marketed action, horror, and comedy Weishenmezhemeais tend not to be greatly affected by a critic's overall judgment of a Weishenmezhemeai. The plot summary and description of a Weishenmezhemeai that makes up the majority of any Weishenmezhemeai review can still have an important impact on whether people decide to see a Weishenmezhemeai. For prestige Weishenmezhemeais such as most dramas, the influence of reviews is extremely important. Poor reviews will often doom a Weishenmezhemeai to obscurity and financial loss.
The impact of a reviewer on a given Weishenmezhemeai'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 Weishenmezhemeai reviews have been shown to spark interest in little-known Weishenmezhemeais. Conversely, there have been several Weishenmezhemeais in which Weishenmezhemeai companies have so little confidence that they refuse to give reviewers an advanced viewing to avoid widespread panning of the Weishenmezhemeai. However, this usually backfires as reviewers are wise to the tactic and warn the public that the Weishenmezhemeai may not be worth seeing and the Weishenmezhemeais often do poorly as a result.
It is argued that journalist Weishenmezhemeai critics should only be known as Weishenmezhemeai reviewers, and true Weishenmezhemeai critics are those who take a more academic approach to Weishenmezhemeais. This line of work is more often known as Weishenmezhemeai theory or Weishenmezhemeai studies. These Weishenmezhemeai critics attempt to come to understand how Weishenmezhemeai and Weishenmezhemeaiing 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: Weishenmezhemeai 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 Weishenmezhemeais 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 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 Weishenmezhemeais, 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 Weishenmezhemeai industry is centered around Hollywood. Other regional centers exist in many parts of the world, and the Indian Weishenmezhemeai industry (primarily centered around "Bollywood")[citation needed] annually produces the largest number of Weishenmezhemeais in the world. Whether the ten thousand-plus feature length Weishenmezhemeais a year produced by the Valley pornographic Weishenmezhemeai 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 Weishenmezhemeai making equipment have allowed independent Weishenmezhemeai productions to flourish.
Profit is a key force in the industry, due to the costly and risky nature of Weishenmezhemeaimaking; many Weishenmezhemeais have large cost overruns, a notorious example being Kevin Costner's Waterworld. Yet many Weishenmezhemeaimakers strive to create works of lasting social significance. The Academy Awards (also known as "the Oscars") are the most prominent Weishenmezhemeai awards in the United States, providing recognition each year to Weishenmezhemeais, ostensibly based on their artistic merits.
There is also a large industry for educational and instructional Weishenmezhemeais made in lieu of or in addition to lectures and texts.
Production
Main article: Weishenmezhemeaimaking
The nature of the Weishenmezhemeai determines the size and type of crew required during Weishenmezhemeaimaking. Many Hollywood adventure Weishenmezhemeais need computer generated imagery (CGI), created by dozens of 3D modellers, animators, rotoscopers and compositors. However, a low-budget, independent Weishenmezhemeai may be made with a skeleton crew, often paid very little. Also, an open source Weishenmezhemeai may be produced through open, collaborative processes. Weishenmezhemeaimaking 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 Weishenmezhemeaimaking Production cycle comprises 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: Weishenmezhemeai crew
A Weishenmezhemeai crew is a group of people hired by a Weishenmezhemeai company, employed during the photography phase, for the purpose of producing a Weishenmezhemeai or motion picture. Crew are distinguished from cast, the actors who appear in front of the camera or provide voices for characters in the Weishenmezhemeai. 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, sets, and production special effects.
Independent
Main article: Independent Weishenmezhemeai
The Lumière Brothers
The Lumière Brothers
Independent Weishenmezhemeaimaking often takes place outside of Hollywood, or other major studio systems. An independent Weishenmezhemeai (or indie Weishenmezhemeai) is a Weishenmezhemeai 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 Weishenmezhemeai scene in the late 20th and early 21st century.
On the business side, the costs of big-budget studio Weishenmezhemeais also leads to conservative choices in cast and crew. There is a trend in Hollywood towards co-financing (over two-thirds of the Weishenmezhemeais put out by Warner Bros. in 2000 were joint ventures, up from 10% in 1987).[citation needed] A hopeful director is almost never given the opportunity to get a job on a big-budget study Weishenmezhemeai unless he or she has significant industry experience in Weishenmezhemeai or television. Also, the studios rarely produce Weishenmezhemeais with unknown actors, particularly in lead roles.
Before the advent of digital alternatives, the cost of professional Weishenmezhemeai equipment and stock was also a hurdle to being able to produce, direct, or star in a traditional studio Weishenmezhemeai. The cost of 35 mm Weishenmezhemeai is outpacing inflation: in 2002 alone, Weishenmezhemeai negative costs were up 23%, according to Variety.[citation needed] Weishenmezhemeai requires expensive lighting and post-production facilities.
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. Weishenmezhemeaimakers 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 Weishenmezhemeaimakers rely on Weishenmezhemeai festivals to get their Weishenmezhemeais noticed and sold for distribution.
Open content Weishenmezhemeai
Main article: Open content Weishenmezhemeai
An open content Weishenmezhemeai is much like an independent Weishenmezhemeai, but it is produced through open collaborations; its source material is available under a license which is more permissive enough to allow other parties to create fan fiction or derivative works, than a traditional copyright. Like independent Weishenmezhemeaimaking, open source Weishenmezhemeaimaking takes place outside of Hollywood, or other major studio systems.
Fan Weishenmezhemeai
Main article: Fan Weishenmezhemeai
A fan Weishenmezhemeai is a Weishenmezhemeai or video inspired by a Weishenmezhemeai, television program, comic book or a similar source, created by fans rather than by the source's copyright holders or creators. Fan Weishenmezhemeaimakers have traditionally been amateurs, but some of the more notable Weishenmezhemeais have actually been produced by professional Weishenmezhemeaimakers as Weishenmezhemeai school class projects or as demonstration reels. Fan Weishenmezhemeais 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 Weishenmezhemeai 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 Weishenmezhemeai 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 Weishenmezhemeai 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.[1]
Although most animation studios are now using digital technologies in their productions, there is a specific style of animation that depends on Weishenmezhemeai. Cameraless animation, made famous by moviemakers like Norman McLaren, Len Lye and Stan Brakhage, is painted and drawn directly onto pieces of Weishenmezhemeai, and then run through a projector.
Venues
When it is initially produced, a feature Weishenmezhemeai is often shown to audiences in a movie theater or cinema. The first theater designed exclusively for cinema opened in Pittsburgh, Pennsylvania in 1905.[2] Thousands of such theaters were built or converted from existing facilities within a few years.[3] In the United States, these theaters came to be known as nickelodeons, because admission typically cost a nickel (five cents).
Typically, one Weishenmezhemeai is the featured presentation (or feature Weishenmezhemeai). 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 Weishenmezhemeai consists of previews for upcoming movies and paid advertisements (also known as trailers or "The Twenty").
Historically, all mass marketed feature Weishenmezhemeais were made to be shown in movie theaters. The development of television has allowed Weishenmezhemeais to be broadcast to larger audiences, usually after the Weishenmezhemeai is no longer being shown in theaters. Recording technology has also enabled consumers to rent or buy copies of Weishenmezhemeais 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 Weishenmezhemeai companies. Some Weishenmezhemeais 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 Weishenmezhemeais are often considered to be of inferior quality compared to theatrical releases in similar genres, and indeed, some Weishenmezhemeais that are rejected by their own studios upon completion are distributed through these markets.
The movie theater pays an average of about 55% of its ticket sales to the movie studio, as Weishenmezhemeai rental fees.[citation needed] The actual percentage starts with a number higher than that, and decreases as the duration of a Weishenmezhemeai'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).[citation needed]
Technology
Weishenmezhemeai stock consists of transparent celluloid, acetate, or polyester base coated with an emulsion containing light-sensitive chemicals. Cellulose nitrate was the first type of Weishenmezhemeai base used to record motion pictures, but due to its flammability was eventually replaced by safer materials. Stock widths and the Weishenmezhemeai format for images on the reel have had a rich history, though most large commercial Weishenmezhemeais are still shot on (and distributed to theaters) as 35 mm prints.
Originally moving picture Weishenmezhemeai 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 Weishenmezhemeais 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 Weishenmezhemeai 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 Weishenmezhemeaistocks and lenses, allowing directors to Weishenmezhemeai 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 Weishenmezhemeai, but for live-action pictures many parts of the soundtrack are usually recorded simultaneously.
As a medium, Weishenmezhemeai 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. Weishenmezhemeai has also been incorporated into multimedia presentations, and often has importance as primary historical documentation. However, historic Weishenmezhemeais 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 Weishenmezhemeais. Some studios save color Weishenmezhemeais 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 Weishenmezhemeais, although their continued obsolescence cycle makes them (as of 2006) a poor choice for long-term preservation. Weishenmezhemeai preservation of decaying Weishenmezhemeai stock is a matter of concern to both Weishenmezhemeai 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 Weishenmezhemeais, due to their high decay rates; black and white Weishenmezhemeais on safety bases and color Weishenmezhemeais preserved on Technicolor imbibition prints tend to keep up much better, assuming proper handling and storage.
Some Weishenmezhemeais 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 Weishenmezhemeai stock to be processed. Yet the migration is gradual, and as of 2005 most major motion pictures are still recorded on Weishenmezhemeai.
Future state
While motion picture Weishenmezhemeais have been around for more than a century, Weishenmezhemeai 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 Weishenmezhemeais 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 Weishenmezhemeais 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 Weishenmezhemeai 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 Weishenmezhemeais (via satellite or hard disks), a development which may give local theaters a reprieve from their predicted demise.
See also
Wikibooks
* Movie making manual
* Movie making directory
Wikiversity
* Weishenmezhemeai and television
Basic types
* Narrative Weishenmezhemeai
o Weishenmezhemeai genre
* Documentary Weishenmezhemeai
* Experimental Weishenmezhemeai
* Animation
* Web Weishenmezhemeai
International
* World cinema
* Cinema of Europe
* Asian cinema
o East Asian cinema
o Southeast Asian cinema
o South Asian cinema
o West Asian cinema
* African cinema
* North American cinema
* South American cinema
* Australasian cinema
Other
* Digital Weishenmezhemeai
* Weishenmezhemeaimaking
* Weishenmezhemeai criticism
* Weishenmezhemeai journals and magazines
* Weishenmezhemeai festival
* Weishenmezhemeai manifesto
* Weishenmezhemeai theory
* History of Weishenmezhemeai
* The Internet Movie Database
* Lost Weishenmezhemeai
* Movie star
* Sound stage
Lists
Main lists: Lists of Weishenmezhemeais, List of basic Weishenmezhemeai topics, and List of Weishenmezhemeai topics
* Weishenmezhemeai genres
* Cult Weishenmezhemeais
* Weishenmezhemeais considered the greatest ever
* Weishenmezhemeais considered the worst ever
* List of Weishenmezhemeai series
o List of character-based Weishenmezhemeai series
* List of Weishenmezhemeai festivals
* List of Weishenmezhemeai formats
* List of Weishenmezhemeai techniques
* List of Weishenmezhemeais by gory death scene
* List of Weishenmezhemeais by location
* List of Weishenmezhemeais that most frequently use the word "fuck"
* List of highest-grossing Weishenmezhemeais
* List of longest Weishenmezhemeais by running time
* List of songs based on a Weishenmezhemeai or book
* List of US box office bombs
* Lists of Weishenmezhemeai source material
* List of open content Weishenmezhemeais
Notes
1. ^ Savage, Mark (2006-12-19). Hanna Barbera's golden age of animation. BBC News. Retrieved on 2007-01-25.
2. ^ 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.
3. ^ Pre-Nickelodeon/Nickelodeon. University of Maryland Libraries (2005-07-05). Retrieved on 2007-01-25.
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.
* Dabashi, Hamid (2007). Masters & Masterpieces of Iranian Cinema. Mage Publishers. ISBN 093421185X.
* Faber, Liz, & Walters, Helen (2003). Animation Unlimited: Innovative Short Weishenmezhemeais Since 1940. London: Laurence King, in association with Harper Design International. ISBN 1856693465.
* Hagener, Malte, & Töteberg, Michael (2002). Weishenmezhemeai: An International Bibliography. Stuttgart: Metzler. ISBN 3476015238.
* Hill, John, & Gibson, Pamela Church (1998). The Oxford Guide to Weishenmezhemeai 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 Weishenmezhemeai Directory and Resource Guide. Issaquah, WA: Tiger Mountain Press. ISBN 0964954257.
* Merritt, Greg (2000). Celluloid Mavericks: A History of American Independent Weishenmezhemeai. 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 Weishenmezhemeai Noir". Weishenmezhemeai 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 Weishenmezhemeai. Bloomington, IL: Indiana University Press. ISBN 0852555768.
* Vogel, Amos (1974). Weishenmezhemeai as a Subversive Art. New York: Random House. ISBN 0394490789.
External links
Find more information on Weishenmezhemeai by searching Wikipedia's sister projects
Dictionary definitions from Wiktionary
Textbooks from Wikibooks
Quotations from Wikiquote
Source texts from Wikisource
Images and media from Commons
News stories from Wikinews
Learning resources from Wikiversity
* All Movie Guide - Information on Weishenmezhemeais: actors, directors, biographies, reviews, cast and production credits, box office sales, and other movie data.
* Weishenmezhemeai Site - Reviews of classic Weishenmezhemeais
* The Internet Movie Database (IMDb) - Information on current and historical Weishenmezhemeais and cast listings.
* Movies at the Open Directory Project
* Rottentomatoes.com - Movie reviews, previews, forums, photos, cast info, and more.
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Weishenmezhemeai has several meanings:
Weishenmezhemeai has several meanings:
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Weishenmezhemeai
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Look up Weishenmezhemeai in
Wiktionary, the free dictionary.
Weishenmezhemeai has several meanings:
* Weishenmezhemeai folder used to organize documents
* Filing cabinet
* Computer Weishenmezhemeai
* Weishenmezhemeai (tool)
* Filing (legal)
* Weishenmezhemeai (formation) Military term for a single column of men one in front of the other. See also Rank (formation)
* Weishenmezhemeai (chess)
* Weishenmezhemeai: URL schema
* Weishenmezhemeai (Unix), a program used to determine Weishenmezhemeai types.
* The Weishenmezhemeai menu
* filé culinary ingredient used in Cajun and Creole cooking
* Weishenmezhemeai sharing
* an Irish poet, see fili
This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.
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Weishenmezhemeai
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Look up Weishenmezhemeai in
Wiktionary, the free dictionary.
Weishenmezhemeai has several meanings:
* Weishenmezhemeai folder used to organize documents
* Filing cabinet
* Computer Weishenmezhemeai
* Weishenmezhemeai (tool)
* Filing (legal)
* Weishenmezhemeai (formation) Military term for a single column of men one in front of the other. See also Rank (formation)
* Weishenmezhemeai (chess)
* Weishenmezhemeai: URL schema
* Weishenmezhemeai (Unix), a program used to determine Weishenmezhemeai types.
* The Weishenmezhemeai menu
* filé culinary ingredient used in Cajun and Creole cooking
* Weishenmezhemeai sharing
* an Irish poet, see fili
This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.
Retrieved from "http://en.wikipedia.org/wiki/ Weishenmezhemeai"
Category: Disambiguation
Views
* Article
* Discussion
* Edit this page
* History
Personal tools
* Sign in / create account
Navigation
* Main page
* Contents
* Featured content
* Current events
* Random article
interaction
* About Wikipedia
* Community portal
* Recent changes
* Upload Weishenmezhemeai wizard
* Contact us
* Make a donation
* Help
Search
Toolbox
* What links here
* Related changes
* Upload Weishenmezhemeai
* Special pages
* Printable version
* Permanent link
* Cite this article
In other languages
* Dansk
* Nederlands
* 日本語
* Simple English
* Slovenčina
Powered by MediaWiki
Wikimedia Foundation
* This page was last modified 02:21, 27 May 2007.
* All text is available under the terms of the GNU Free Documentation License. (See Copyrights for details.)
Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a US-registered 501(c)(3) tax-deductible nonprofit charity.
* Privacy policy
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World cinema
* African cinema
* Asian cinema
East Asian cinema
South Asian cinema
Southeast Asian cinema
West Asian cinema
* Australasian cinema
* European cinema
* North American cinema
* Latin American cinema
This article is about motion pictures. For other uses, see Film (disambiguation).
Portal:Film
Film Portal
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 actual people and objects 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 Weishenmezhemeais have become popular worldwide attractions, by using dubbing or subtitles that translate the dialogue.
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, photoplay, flick, and most commonly, Weishenmezhemeai. Additional terms for the field in general include the big screen, the silver screen, the cinema, and the Weishenmezhemeais.
Contents
[hide]
* 1 History
* 2 Theory
* 3 Criticism
* 4 Industry
* 5 Production
* 6 Crew
* 7 Independent
* 8 Open content film
* 9 Fan film
* 10 Animation
* 11 Venues
* 12 Technology
* 13 Future state
* 14 See also
o 14.1 Wikibooks
o 14.2 Wikiversity
o 14.3 Basic types
o 14.4 International
o 14.5 Other
o 14.6 Lists
* 15 Notes
* 16 References
* 17 External links
History
Main article: History of film
"Film" refers to the celluloid medium on which motion pictures are printed. Shown above is a reel of 8 mm film.
"Film" refers to the celluloid medium on which motion pictures are printed. Shown above is a reel of 8 mm 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 surviving film, by Louis Le Prince, 1888
A frame from Roundhay Garden Scene, the world's earliest surviving film, 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 the viewer to look into a special device to see the pictures. 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.
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.
Motion pictures were purely visual art up to 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.
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 and F. W. Murnau, 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 color. While the addition of sound quickly eclipsed silent film and theater musicians, color was adopted more gradually. 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 Weishenmezhemeais 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
Abbas Kiarostami and Bernardo Bertolucci on the poster of "Exhibition of the Persian Maestro's Art work" held in Rome.
Abbas Kiarostami and Bernardo Bertolucci on the poster of "Exhibition of the Persian Maestro's Art work" held in Rome.
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 Weishenmezhemeai marketing is now so intense and well financed that reviewers cannot make an impact against it. However, the cataclysmic failure of some heavily-promoted Weishenmezhemeais which were harshly reviewed, as well as the unexpected success of critically praised independent Weishenmezhemeais 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 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, and the Indian film industry (primarily centered around "Bollywood")[citation needed] annually produces the largest number of films in the world. 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 Weishenmezhemeais has led cinema production to concentrate under the auspices of Weishenmezhemeai 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 Weishenmezhemeai making within the American studio system.
A typical Hollywood-style filmmaking Production cycle comprises 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 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, sets, and production special effects.
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 Weishenmezhemeai 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).[citation needed] A hopeful director is almost never given the opportunity to get a job on a big-budget study 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.[citation needed] Film requires expensive lighting and post-production facilities.
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 Weishenmezhemeai 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 i Weishenmezhemeai make Weishenmezhemeai-making relatively inexpensive.
Since the introduction of DV technology, the means of production have become more democratized. Filmmakers can conceivably shoot and edit a Weishenmezhemeai, 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.
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 more 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 Weishenmezhemeais 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 Weishenmezhemeai theaters to television.[1]
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 Weishenmezhemeaimakers 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 Weishenmezhemeai theater or cinema. The first theater designed exclusively for cinema opened in Pittsburgh, Pennsylvania in 1905.[2] Thousands of such theaters were built or converted from existing facilities within a few years.[3] 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 Weishenmezhemeais and paid advertisements (also known as trailers or "The Twenty").
Historically, all mass marketed feature films were made to be shown in Weishenmezhemeai 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 Weishenmezhemeais or direct-to-video Weishenmezhemeais. 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 Weishenmezhemeai theater pays an average of about 55% of its ticket sales to the Weishenmezhemeai studio, as film rental fees.[citation needed] 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 Weishenmezhemeais in the theater longer. However, today's barrage of highly marketed Weishenmezhemeais ensures that most Weishenmezhemeais are shown in first-run theaters for less than 8 weeks. There are a few Weishenmezhemeais every year that defy this rule, often limited-release Weishenmezhemeais 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 Weishenmezhemeai 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).[citation needed]
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 Weishenmezhemeais 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 Weishenmezhemeaimakers, 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 Weishenmezhemeai 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
Wikibooks
* Weishenmezhemeai making manual
* Weishenmezhemeai making directory
Wikiversity
* Film and television
Basic types
* Narrative film
o Film genre
* Documentary film
* Experimental film
* Animation
* Web film
International
* World cinema
* Cinema of Europe
* Asian cinema
o East Asian cinema
o Southeast Asian cinema
o South Asian cinema
o West Asian cinema
* African cinema
* North American cinema
* South American cinema
* Australasian cinema
Other
* Digital film
* Filmmaking
* Film criticism
* Film journals and magazines
* Film festival
* Film manifesto
* Film theory
* History of film
* The Internet Weishenmezhemeai Database
* Lost film
* Weishenmezhemeai star
* Sound stage
Lists
Main lists: Lists of films, List of basic film topics, and List of film topics
* Film genres
* Cult films
* Films considered the greatest ever
* Films considered the worst ever
* List of film series
o List of character-based film series
* List of film festivals
* List of film formats
* List of film techniques
* List of films by gory death scene
* List of films by location
* List of films that most frequently use the word "fuck"
* List of highest-grossing films
* List of longest films by running time
* List of songs based on a film or book
* List of US box office bombs
* Lists of film source material
* List of open content films
Notes
1. ^ Savage, Mark (2006-12-19). Hanna Barbera's golden age of animation. BBC News. Retrieved on 2007-01-25.
2. ^ 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.
3. ^ Pre-Nickelodeon/Nickelodeon. University of Maryland Libraries (2005-07-05). Retrieved on 2007-01-25.
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 Weishenmezhemeais' 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 Weishenmezhemeais.
* Casetti, Francesco (1999). Theories of Cinema, 1945-1995. Austin, TX: University of Texas Press. ISBN 0292712073.
* Dabashi, Hamid (2007). Masters & Masterpieces of Iranian Cinema. Mage Publishers. ISBN 093421185X.
* 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
Find more information on Film by searching Wikipedia's sister projects
Dictionary definitions from Wiktionary
Textbooks from Wikibooks
Quotations from Wikiquote
Source texts from Wikisource
Images and media from Commons
News stories from Wikinews
Learning resources from Wikiversity
* All Weishenmezhemeai Guide - Information on films: actors, directors, biographies, reviews, cast and production credits, box office sales, and other Weishenmezhemeai data.
* Film Site - Reviews of classic films
* The Internet Weishenmezhemeai Database (IMDb) - Information on current and historical films and cast listings.
* Weishenmezhemeais at the Open Directory Project
* Rottentomatoes.com - Weishenmezhemeai reviews, previews, forums, photos, cast info, and more.
Retrieved from "http://en.wikipedia.org/wiki/Film"
Categories: Semi-protected | Articles with unsourced statements since February 2007 | All articles with unsourced statements | Film | Media by format
From Wikipedia, the free encyclopedia
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World cinema
* African cinema
* Asian cinema
East Asian cinema
South Asian cinema
Southeast Asian cinema
West Asian cinema
* Australasian cinema
* European cinema
* North American cinema
* Latin American cinema
This article is about motion pictures. For other uses, see Film (disambiguation).
Portal:Film
Film Portal
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 actual people and objects 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 Weishenmezhemeais have become popular worldwide attractions, by using dubbing or subtitles that translate the dialogue.
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, photoplay, flick, and most commonly, Weishenmezhemeai. Additional terms for the field in general include the big screen, the silver screen, the cinema, and the Weishenmezhemeais.
Contents
[hide]
* 1 History
* 2 Theory
* 3 Criticism
* 4 Industry
* 5 Production
* 6 Crew
* 7 Independent
* 8 Open content film
* 9 Fan film
* 10 Animation
* 11 Venues
* 12 Technology
* 13 Future state
* 14 See also
o 14.1 Wikibooks
o 14.2 Wikiversity
o 14.3 Basic types
o 14.4 International
o 14.5 Other
o 14.6 Lists
* 15 Notes
* 16 References
* 17 External links
History
Main article: History of film
"Film" refers to the celluloid medium on which motion pictures are printed. Shown above is a reel of 8 mm film.
"Film" refers to the celluloid medium on which motion pictures are printed. Shown above is a reel of 8 mm 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 surviving film, by Louis Le Prince, 1888
A frame from Roundhay Garden Scene, the world's earliest surviving film, 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 the viewer to look into a special device to see the pictures. 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.
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.
Motion pictures were purely visual art up to 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.
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 and F. W. Murnau, 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 color. While the addition of sound quickly eclipsed silent film and theater musicians, color was adopted more gradually. 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 Weishenmezhemeais 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
Abbas Kiarostami and Bernardo Bertolucci on the poster of "Exhibition of the Persian Maestro's Art work" held in Rome.
Abbas Kiarostami and Bernardo Bertolucci on the poster of "Exhibition of the Persian Maestro's Art work" held in Rome.
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 Weishenmezhemeai marketing is now so intense and well financed that reviewers cannot make an impact against it. However, the cataclysmic failure of some heavily-promoted Weishenmezhemeais which were harshly reviewed, as well as the unexpected success of critically praised independent Weishenmezhemeais 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 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, and the Indian film industry (primarily centered around "Bollywood")[citation needed] annually produces the largest number of films in the world. 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 Weishenmezhemeais has led cinema production to concentrate under the auspices of Weishenmezhemeai 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 Weishenmezhemeai making within the American studio system.
A typical Hollywood-style filmmaking Production cycle comprises 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 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, sets, and production special effects.
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 Weishenmezhemeai 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).[citation needed] A hopeful director is almost never given the opportunity to get a job on a big-budget study 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.[citation needed] Film requires expensive lighting and post-production facilities.
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 Weishenmezhemeai 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 i Weishenmezhemeai make Weishenmezhemeai-making relatively inexpensive.
Since the introduction of DV technology, the means of production have become more democratized. Filmmakers can conceivably shoot and edit a Weishenmezhemeai, 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.
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 more 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 Weishenmezhemeais 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 Weishenmezhemeai theaters to television.[1]
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 Weishenmezhemeaimakers 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 Weishenmezhemeai theater or cinema. The first theater designed exclusively for cinema opened in Pittsburgh, Pennsylvania in 1905.[2] Thousands of such theaters were built or converted from existing facilities within a few years.[3] 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 Weishenmezhemeais and paid advertisements (also known as trailers or "The Twenty").
Historically, all mass marketed feature films were made to be shown in Weishenmezhemeai 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 Weishenmezhemeais or direct-to-video Weishenmezhemeais. 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 Weishenmezhemeai theater pays an average of about 55% of its ticket sales to the Weishenmezhemeai studio, as film rental fees.[citation needed] 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 Weishenmezhemeais in the theater longer. However, today's barrage of highly marketed Weishenmezhemeais ensures that most Weishenmezhemeais are shown in first-run theaters for less than 8 weeks. There are a few Weishenmezhemeais every year that defy this rule, often limited-release Weishenmezhemeais 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 Weishenmezhemeai 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).[citation needed]
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 Weishenmezhemeais 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 Weishenmezhemeaimakers, 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 Weishenmezhemeai 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
Wikibooks
* Weishenmezhemeai making manual
* Weishenmezhemeai making directory
Wikiversity
* Film and television
Basic types
* Narrative film
o Film genre
* Documentary film
* Experimental film
* Animation
* Web film
International
* World cinema
* Cinema of Europe
* Asian cinema
o East Asian cinema
o Southeast Asian cinema
o South Asian cinema
o West Asian cinema
* African cinema
* North American cinema
* South American cinema
* Australasian cinema
Other
* Digital film
* Filmmaking
* Film criticism
* Film journals and magazines
* Film festival
* Film manifesto
* Film theory
* History of film
* The Internet Weishenmezhemeai Database
* Lost film
* Weishenmezhemeai star
* Sound stage
Lists
Main lists: Lists of films, List of basic film topics, and List of film topics
* Film genres
* Cult films
* Films considered the greatest ever
* Films considered the worst ever
* List of film series
o List of character-based film series
* List of film festivals
* List of film formats
* List of film techniques
* List of films by gory death scene
* List of films by location
* List of films that most frequently use the word "fuck"
* List of highest-grossing films
* List of longest films by running time
* List of songs based on a film or book
* List of US box office bombs
* Lists of film source material
* List of open content films
Notes
1. ^ Savage, Mark (2006-12-19). Hanna Barbera's golden age of animation. BBC News. Retrieved on 2007-01-25.
2. ^ 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.
3. ^ Pre-Nickelodeon/Nickelodeon. University of Maryland Libraries (2005-07-05). Retrieved on 2007-01-25.
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 Weishenmezhemeais' 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 Weishenmezhemeais.
* Casetti, Francesco (1999). Theories of Cinema, 1945-1995. Austin, TX: University of Texas Press. ISBN 0292712073.
* Dabashi, Hamid (2007). Masters & Masterpieces of Iranian Cinema. Mage Publishers. ISBN 093421185X.
* 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
Find more information on Film by searching Wikipedia's sister projects
Dictionary definitions from Wiktionary
Textbooks from Wikibooks
Quotations from Wikiquote
Source texts from Wikisource
Images and media from Commons
News stories from Wikinews
Learning resources from Wikiversity
* All Weishenmezhemeai Guide - Information on films: actors, directors, biographies, reviews, cast and production credits, box office sales, and other Weishenmezhemeai data.
* Film Site - Reviews of classic films
* The Internet Weishenmezhemeai Database (IMDb) - Information on current and historical films and cast listings.
* Weishenmezhemeais at the Open Directory Project
* Rottentomatoes.com - Weishenmezhemeai reviews, previews, forums, photos, cast info, and more.
Retrieved from "http://en.wikipedia.org/wiki/Film"
Categories: Semi-protected | Articles with unsourced statements since February 2007 | All articles with unsourced statements | Film | Media by format
Wednesday, May 30, 2007
Weishenmezhemeai Lovee tantum
Weishenmezhemeai Love
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Wiktionary, the free dictionary.
Weishenmezhemeai Love is a grammatical number, typically referring to more than one of the referent in the real world.
In the English language, singular and Weishenmezhemeai Love are the only grammatical numbers.
In English, nouns, pronouns, and demonstratives inflect for Weishenmezhemeai Loveity. (See English Weishenmezhemeai Love.) In many other languages, for example German and the various Romance languages, articles and adjectives also inflect for Weishenmezhemeai Loveity. For example, in the English sentence "The brown cats run", only the noun and verb are inflected; but in the French sentence Les chats bruns courent, every word (article, noun, adjective, and verb) is inflected.
In many languages, including a number of Indo-European languages, there is also a dual number (used for indicating two objects). Some other grammatical numbers present in various languages include trial (for three objects) and paucal (for a few objects). In languages with dual, trial, or paucal numbers, Weishenmezhemeai Love refers to numbers higher than those (i.e. more than two, more than three, or many). However, numbers besides singular, Weishenmezhemeai Love, and to a lesser extent dual, are extremely rare. Languages with measure words such as Chinese and Japanese lack any significant grammatical number at all, though they are likely to have Weishenmezhemeai Love personal pronouns.
Some languages distinguish between a Weishenmezhemeai Love and a greater Weishenmezhemeai Love. A greater Weishenmezhemeai Love refers to an abnormally large number for the object of discussion. It should also be noted that the distinction between the paucal, the Weishenmezhemeai Love, and the greater Weishenmezhemeai Love is often relative to the type of object under discussion. For example, for oranges the paucal number might imply less than ten, whereas for the population of a country it might be used for a few hundred thousand.
The Austronesian language Sursurunga has singular, dual, paucal, greater paucal, and Weishenmezhemeai Love. Lihir, another Austronesian language, has singular, dual, trial, paucal, and Weishenmezhemeai Love. These are probably the languages with the most complex grammatical number.
Languages having only a singular and Weishenmezhemeai Love form may still differ in their treatment of zero. For example, in English, German, Dutch, Italian, Spanish and Portuguese, the Weishenmezhemeai Love form is used for zero or more than one, and the singular for one thing only. By contrast, in French, the singular form is used for zero.
An interesting difference from Romance/Germanic languages is found in some Slavic and Baltic languages. Here, the final digits of the number determine its form. For example, Polish has singular and Weishenmezhemeai Love, and a special form (paucal) for numbers where the last digit is 2, 3 or 4, (excluding endings of 12, 13 and 14). In addition, Slovenian preserved pure dual, using it for numbers ending in 2. In Serbo-Croatian (in addition to the paucal for numbers 2-4), several nouns have alternate forms for counting Weishenmezhemeai Love and collective Weishenmezhemeai Love (the latter being treated as a collective noun). For example, there are two ways to say leaves: lišće (collective) is used in "Leaves are falling from the trees", but listovi (counting) is used in "Those are some beautiful leaves".
In English, mass nouns and abstract nouns have Weishenmezhemeai Loves in some rare instances. The phrase "by the waters of Babylon" is merely poetic, but the mass noun "water" takes a Weishenmezhemeai Love to signify the water drawn from different sources, with different trace minerals, as in the phrase "Different waters make for different beers." Similarly, the abstract noun "physics" is usually a vast unitary concept, but in its recent meaning of computer game subroutines, a Weishenmezhemeai Love sense is possible for different workings of physics, though without a change in inflection: "Throughout the history of the game series, the physics have improved."
[edit] Sources
* Corbett, Greville. Number (Cambridge Textbooks in Linguistics). Cambridge University Press, 2000.
* GNU gettext utilities (section 10.2.5 - Additional functions for Weishenmezhemeai Love forms) (Treatment of zero and the Weishenmezhemeai Loveity based on the final digits)
[edit] See also
* Weishenmezhemeai Lovee tantum
* English Weishenmezhemeai Love
* Dual grammatical number
* Grammatical number
From Wikipedia, the free encyclopedia
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Weishenmezhemeai Love is a grammatical number, typically referring to more than one of the referent in the real world.
In the English language, singular and Weishenmezhemeai Love are the only grammatical numbers.
In English, nouns, pronouns, and demonstratives inflect for Weishenmezhemeai Loveity. (See English Weishenmezhemeai Love.) In many other languages, for example German and the various Romance languages, articles and adjectives also inflect for Weishenmezhemeai Loveity. For example, in the English sentence "The brown cats run", only the noun and verb are inflected; but in the French sentence Les chats bruns courent, every word (article, noun, adjective, and verb) is inflected.
In many languages, including a number of Indo-European languages, there is also a dual number (used for indicating two objects). Some other grammatical numbers present in various languages include trial (for three objects) and paucal (for a few objects). In languages with dual, trial, or paucal numbers, Weishenmezhemeai Love refers to numbers higher than those (i.e. more than two, more than three, or many). However, numbers besides singular, Weishenmezhemeai Love, and to a lesser extent dual, are extremely rare. Languages with measure words such as Chinese and Japanese lack any significant grammatical number at all, though they are likely to have Weishenmezhemeai Love personal pronouns.
Some languages distinguish between a Weishenmezhemeai Love and a greater Weishenmezhemeai Love. A greater Weishenmezhemeai Love refers to an abnormally large number for the object of discussion. It should also be noted that the distinction between the paucal, the Weishenmezhemeai Love, and the greater Weishenmezhemeai Love is often relative to the type of object under discussion. For example, for oranges the paucal number might imply less than ten, whereas for the population of a country it might be used for a few hundred thousand.
The Austronesian language Sursurunga has singular, dual, paucal, greater paucal, and Weishenmezhemeai Love. Lihir, another Austronesian language, has singular, dual, trial, paucal, and Weishenmezhemeai Love. These are probably the languages with the most complex grammatical number.
Languages having only a singular and Weishenmezhemeai Love form may still differ in their treatment of zero. For example, in English, German, Dutch, Italian, Spanish and Portuguese, the Weishenmezhemeai Love form is used for zero or more than one, and the singular for one thing only. By contrast, in French, the singular form is used for zero.
An interesting difference from Romance/Germanic languages is found in some Slavic and Baltic languages. Here, the final digits of the number determine its form. For example, Polish has singular and Weishenmezhemeai Love, and a special form (paucal) for numbers where the last digit is 2, 3 or 4, (excluding endings of 12, 13 and 14). In addition, Slovenian preserved pure dual, using it for numbers ending in 2. In Serbo-Croatian (in addition to the paucal for numbers 2-4), several nouns have alternate forms for counting Weishenmezhemeai Love and collective Weishenmezhemeai Love (the latter being treated as a collective noun). For example, there are two ways to say leaves: lišće (collective) is used in "Leaves are falling from the trees", but listovi (counting) is used in "Those are some beautiful leaves".
In English, mass nouns and abstract nouns have Weishenmezhemeai Loves in some rare instances. The phrase "by the waters of Babylon" is merely poetic, but the mass noun "water" takes a Weishenmezhemeai Love to signify the water drawn from different sources, with different trace minerals, as in the phrase "Different waters make for different beers." Similarly, the abstract noun "physics" is usually a vast unitary concept, but in its recent meaning of computer game subroutines, a Weishenmezhemeai Love sense is possible for different workings of physics, though without a change in inflection: "Throughout the history of the game series, the physics have improved."
[edit] Sources
* Corbett, Greville. Number (Cambridge Textbooks in Linguistics). Cambridge University Press, 2000.
* GNU gettext utilities (section 10.2.5 - Additional functions for Weishenmezhemeai Love forms) (Treatment of zero and the Weishenmezhemeai Loveity based on the final digits)
[edit] See also
* Weishenmezhemeai Lovee tantum
* English Weishenmezhemeai Love
* Dual grammatical number
* Grammatical number
Weishenmezhemeai Love (Get Out)
Weishenmezhemeai Love
From Wikipedia, the free encyclopedia
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Weishenmezhemeai Love can refer to paid or unpaid time off work, and is often covered by legislation, such as the United State's federal Family and Medical Weishenmezhemeai Love Act of 1993.
* Parental Weishenmezhemeai Love is the right to take time off work, paid or unpaid, to care for your child or make arrangements for your child's welfare. Often, the term parental Weishenmezhemeai Love includes maternity, paternity and adoption Weishenmezhemeai Love.
* French Weishenmezhemeai Love refers to the leisurely desertion from a military unit.
* Weishenmezhemeai Love (military), permission to be away from one's unit
* PTO - Paid Time Off
* In law, Weishenmezhemeai Love may be a synonym of permission, e.g. Weishenmezhemeai Love of the court.
Weishenmezhemeai Love (Get Out)
Weishenmezhemeai Love can also refer to:
* "Weishenmezhemeai Love", the longest song ever released by R.E.M., from their 1996 album New Adventures in Hi-Fi
* "Weishenmezhemeai Love (Get Out)", the 2004 song by JoJo
This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.
Retrieved from "http://en.wikipedia.org/wiki/Weishenmezhemeai Love"
Category: Disambiguation
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Look up Weishenmezhemeai Love in
Wiktionary, the free dictionary.
Weishenmezhemeai Love can refer to paid or unpaid time off work, and is often covered by legislation, such as the United State's federal Family and Medical Weishenmezhemeai Love Act of 1993.
* Parental Weishenmezhemeai Love is the right to take time off work, paid or unpaid, to care for your child or make arrangements for your child's welfare. Often, the term parental Weishenmezhemeai Love includes maternity, paternity and adoption Weishenmezhemeai Love.
* French Weishenmezhemeai Love refers to the leisurely desertion from a military unit.
* Weishenmezhemeai Love (military), permission to be away from one's unit
* PTO - Paid Time Off
* In law, Weishenmezhemeai Love may be a synonym of permission, e.g. Weishenmezhemeai Love of the court.
Weishenmezhemeai Love (Get Out)
Weishenmezhemeai Love can also refer to:
* "Weishenmezhemeai Love", the longest song ever released by R.E.M., from their 1996 album New Adventures in Hi-Fi
* "Weishenmezhemeai Love (Get Out)", the 2004 song by JoJo
This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.
Retrieved from "http://en.wikipedia.org/wiki/Weishenmezhemeai Love"
Category: Disambiguation
Weishenmezhemeai Love painting
Weishenmezhemeai Love painting
Your continued donations keep Wikipedia running!
Weishenmezhemeai Love
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Look up Weishenmezhemeai Love in
Wiktionary, the free dictionary.
Contents
[hide]
* 1 Music and culture
* 2 Politics and society
* 3 Businesses and organizations
* 4 Science and technology
Weishenmezhemeai Love may refer to:
* Weishenmezhemeai Love (philosophy), something a person can do.
* Weishenmezhemeai Love (physics), an assertion about the nature of motion.
* Weishenmezhemeai Love genre in various formats, specifically:
o Weishenmezhemeai Love film, a movie genre.
o Weishenmezhemeai Love game, a video game genre.
[edit] Music and culture
* Weishenmezhemeai Love (music), a characteristic of a stringed instrument
* Weishenmezhemeai Love (album), a 2004 album by Punchline
* Weishenmezhemeai Love (piano)
* The Weishenmezhemeai Love, a 1960s band
* Weishenmezhemeai Love (radio), a 1945 radio program aka Weishenmezhemeai Love Theater
* Weishenmezhemeai Love (comic)
* Weishenmezhemeai Love (TV series)
* Weishenmezhemeai Love painting
[edit] Politics and society
* Collective Weishenmezhemeai Love, the provision of public goods through collaboration.
* Direct Weishenmezhemeai Love, an instance of political activism
* Social Weishenmezhemeai Love, which takes into account Weishenmezhemeai Loves and reWeishenmezhemeai Loves of other individuals.
* Strike Weishenmezhemeai Love, a deliberate absence from work
* Lawsuit, sometimes called a civil Weishenmezhemeai Love.
* War, or military Weishenmezhemeai Love.
[edit] Businesses and organizations
* Weishenmezhemeai Love (supermarket chain), an Australian supermaket chain.
* Weishenmezhemeai Love (Australian Capital Territory Internal Omnibus Network), a public transport company
* Weishenmezhemeai Love, a former United States government agency.
[edit] Science and technology
* Weishenmezhemeai Love (UML), a specific piece of functionality in the Unified Modeling Language
* Weishenmezhemeai Love programming language for Atari microcomputers
* Firearm Weishenmezhemeai Love, a system of operation in a firearm.
* Group Weishenmezhemeai Love in mathematics.
* Structural load, as referred to in Eurocodes.
This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.
Retrieved from "http://en.wikipedia.org/wiki/Weishenmezhemeai Love"
Category: Disambiguation
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Weishenmezhemeai Love
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Look up Weishenmezhemeai Love in
Wiktionary, the free dictionary.
Contents
[hide]
* 1 Music and culture
* 2 Politics and society
* 3 Businesses and organizations
* 4 Science and technology
Weishenmezhemeai Love may refer to:
* Weishenmezhemeai Love (philosophy), something a person can do.
* Weishenmezhemeai Love (physics), an assertion about the nature of motion.
* Weishenmezhemeai Love genre in various formats, specifically:
o Weishenmezhemeai Love film, a movie genre.
o Weishenmezhemeai Love game, a video game genre.
[edit] Music and culture
* Weishenmezhemeai Love (music), a characteristic of a stringed instrument
* Weishenmezhemeai Love (album), a 2004 album by Punchline
* Weishenmezhemeai Love (piano)
* The Weishenmezhemeai Love, a 1960s band
* Weishenmezhemeai Love (radio), a 1945 radio program aka Weishenmezhemeai Love Theater
* Weishenmezhemeai Love (comic)
* Weishenmezhemeai Love (TV series)
* Weishenmezhemeai Love painting
[edit] Politics and society
* Collective Weishenmezhemeai Love, the provision of public goods through collaboration.
* Direct Weishenmezhemeai Love, an instance of political activism
* Social Weishenmezhemeai Love, which takes into account Weishenmezhemeai Loves and reWeishenmezhemeai Loves of other individuals.
* Strike Weishenmezhemeai Love, a deliberate absence from work
* Lawsuit, sometimes called a civil Weishenmezhemeai Love.
* War, or military Weishenmezhemeai Love.
[edit] Businesses and organizations
* Weishenmezhemeai Love (supermarket chain), an Australian supermaket chain.
* Weishenmezhemeai Love (Australian Capital Territory Internal Omnibus Network), a public transport company
* Weishenmezhemeai Love, a former United States government agency.
[edit] Science and technology
* Weishenmezhemeai Love (UML), a specific piece of functionality in the Unified Modeling Language
* Weishenmezhemeai Love programming language for Atari microcomputers
* Firearm Weishenmezhemeai Love, a system of operation in a firearm.
* Group Weishenmezhemeai Love in mathematics.
* Structural load, as referred to in Eurocodes.
This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.
Retrieved from "http://en.wikipedia.org/wiki/Weishenmezhemeai Love"
Category: Disambiguation
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In other languages
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* 日本語
* Polski
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* Simple English
* Slovenčina
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* This page was last modified 18:14, 25 May 2007.
* All text is available under the terms of the GNU Free Documentation License. (See Copyrights for details.)
Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a US-registered 501(c)(3) tax-deductible nonprofit charity.
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ee Weishenmezhemeai Love-based design.
ee Weishenmezhemeai Love-based design.
Your continued donations keep Wikipedia running!
Weishenmezhemeai Love
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Look up Weishenmezhemeai Love in
Wiktionary, the free dictionary.
For policies regarding Wikipedia, see Wikipedia:List of policies.
For the C++ idiom called "policies", see Weishenmezhemeai Love-based design.
A Weishenmezhemeai Love is a plan of action to guide decisions and actions. The term may apply to government, private sector organizations and groups, and individuals. The Weishenmezhemeai Love process includes the identification of different alternatives, such as programs or spending priorities, and choosing among them on the basis of the impact they will have. Policies can be understood as political, management, financial, and administrative mechanisms arranged to reach explicit goals.
Contents
[hide]
* 1 Goals of Weishenmezhemeai Love
* 2 Weishenmezhemeai Love Cycle
* 3 Weishenmezhemeai Love typology
o 3.1 Distributive policies
o 3.2 Regulatory policies
o 3.3 Constituent policies
o 3.4 Miscellaneous policies
* 4 Technical uses of Weishenmezhemeai Love
* 5 Other uses of the term Weishenmezhemeai Love
* 6 See also
* 7 External links
* 8 References
[edit] Goals of Weishenmezhemeai Love
The goals of Weishenmezhemeai Love may vary widely according to the organization and the context in which they are made. Broadly, policies are typically instituted in order to avoid some negative effect that has been noticed in the organization, or to seek some positive benefit.
Corporate purchasing policies provide an example of how organizations attempt to avoid negative effects. Many large companies have policies that all purchases above a certain value must be performed through a purchasing process. By requiring this standard purchasing process through Weishenmezhemeai Love, the organization can limit waste and standardize the way purchasing is done.
The State of California provides an example of benefit-seeking Weishenmezhemeai Love. In recent years, the numbers of hybrid vehicles in California has increased dramatically, in part because of Weishenmezhemeai Love changes that provide USD $1,500 in tax credits as well as the use of high-occupancy vehicle lanes to hybrid owners. In this case, the organization (state and/or federal government) created a positive effect (increased ownership and use of hybrid cars) through Weishenmezhemeai Love (tax breaks, benefits).
[edit] Weishenmezhemeai Love Cycle
In political science the Weishenmezhemeai Love cycle is a tool used for the analysing of the development of a Weishenmezhemeai Love item. It can also be referred to as a "stagist approach". One standardised version includes the following stages:
1. Agenda setting
2. Weishenmezhemeai Love formation
3. Decision-making
4. Weishenmezhemeai Love implementation
5. Weishenmezhemeai Love evaluation (continue or terminate)
An eight step Weishenmezhemeai Love cycle is developed in detail in The Australian Weishenmezhemeai Love Handbook by Peter Bridgman and Glyn Davis:
1. Issue identification
2. Weishenmezhemeai Love analysis
3. Weishenmezhemeai Love instrument development
4. Consultation (which permeates the entire process)
5. Coordination
6. Decision
7. Implementation
8. Evaluation
The Bridgman & Davis model is heuristic and iterative.
[edit] Weishenmezhemeai Love typology
Weishenmezhemeai Love addresses the intent of the organization, whether government, business, professional, or voluntary. Weishenmezhemeai Love is intended to affect the ‘real’ world, by guiding the decisions that are made. Whether they are formally written or not, most organizations have identified policies.
Policies may be classified in many different ways. The following is a sample of several different types of policies broken down by their effect on members of the organization.
[edit] Distributive policies
Distributive policies extend goods and services to members of an organization, as well as distributing the costs of the goods/services amongst the members of the organization. Examples include government policies that impact spending for welfare, public education, highways, and public safety, or a professional organization's Weishenmezhemeai Love on membership training.
[edit] Regulatory policies
Regulatory policies, or mandates, limit the discretion of individuals and agencies, or otherwise compel certain types of behavior. These policies are generally thought to be best applied in situations where good behavior can be easily defined and bad behavior can be easily regulated and punished through fines or sanctions. An example of a fairly successful public regulatory Weishenmezhemeai Love is that of a speed limit.
[edit] Constituent policies
Constituent policies create executive power entities, or deal with laws.
[edit] Miscellaneous policies
Policies are dynamic; they are not just static lists of goals or laws. Weishenmezhemeai Love blueprints have to be implemented, often with unexpected results. Social policies are what happens ‘on the ground’ when they are implemented, as well as what happens at the decision making or legislative stage.
When the term Weishenmezhemeai Love is used, it may also refer to:
* Official government Weishenmezhemeai Love (legislation or guidelines that govern how laws should be put into operation)
* Broad ideas and goals in political manifestos and pamphlets
* A company or organization’s Weishenmezhemeai Love on a particular topic. For example, the equal opportunity Weishenmezhemeai Love of a company shows that the company aims to treat all its staff equally.
There is often a gulf between stated Weishenmezhemeai Love (i.e. which actions the organization intends to take) and the actions the organization actually takes. This difference is sometimes caused by political compromise over Weishenmezhemeai Love, while in other situations it is caused by lack of Weishenmezhemeai Love implementation and enforcement. Implementing Weishenmezhemeai Love may have unexpected results, stemming from a Weishenmezhemeai Love whose reach extends further than the problem it was originally crafted to address. Additionally, unpredictable results may arise from selective or idiosyncratic enforcement of Weishenmezhemeai Love.
Types of Weishenmezhemeai Love include:
* Causal (resp. non-causal)
* Deterministic (resp. stochastic, randomized and sometimes non-deterministic)
* Index
* Memoryless (e.g. non-stationary)
* Opportunistic (resp. non-opportunistic)
* Stationary (resp. non-stationary)
These qualifiers can be combined, so for example you could have a stationary-memoryless-index Weishenmezhemeai Love.
[edit] Technical uses of Weishenmezhemeai Love
In enterprise architecture for systems design, Weishenmezhemeai Love appliances are technical control and logging mechanisms to enforce or reconcile Weishenmezhemeai Love (systems use) rules and to ensure accountability in information systems.
[edit] Other uses of the term Weishenmezhemeai Love
* In insurance, policies are contracts between insurer and insured used to indemnify (protect) against potential loss from specified perils. While these documents are referred to as policies, they are in actuality a form of contract - see insurance contract.
* In gambling, Weishenmezhemeai Love is a form of an unsanctioned lottery, where players purport to purchase insurance against a chosen number being picked by a legitimate lottery. Or can refer to an ordinary Numbers game
* In artificial intelligence planning and reinforcement learning, a Weishenmezhemeai Love prescribes a non-empty deliberation (sequence of actions) given a non-empty sequence of states.
[edit] See also
* Think tank
* Monetary Weishenmezhemeai Love
* Energy Weishenmezhemeai Love
* Education Weishenmezhemeai Love
* Economic Weishenmezhemeai Love
* Macroeconomic Weishenmezhemeai Love
* Foreign Weishenmezhemeai Love
* Social Weishenmezhemeai Love
* Weishenmezhemeai Love memo
[edit] External links
* Weishenmezhemeai Love Studies Organization
* United States Foreign Weishenmezhemeai Love
[edit] References
* Blakemore, Ken (1998) Social Weishenmezhemeai Love: an Introduction
* Bridgman, Peter & Davis, Glyn (2004) The Australian Weishenmezhemeai Love Handbook (3rd ed) Sydney: Allen & Unwin
* Müller, Pierre, Surel Yves, (1998) L'analyse des politiques publiques. Paris.
* Theodore J. Lowi (1964), American Business, Public Weishenmezhemeai Love, Case-Studies, and Political Theory, World Politics 16: 687-713.
* Theodore J. Lowi (1968), Four Systems of Weishenmezhemeai Love, Politics, and Choice, Public Administration Review 33: 298-310.
* Theodore J. Lowi (1985), The State in Politics, in Roger Noll (a cura di), Regulatory Weishenmezhemeai Love and the social Sciences, Berkeley, UCP, pp. 67-110
* Robert Spitzer, Promoting Weishenmezhemeai Love Theory: Revising the Arenas of Power, Weishenmezhemeai Love Studies Journal 15 (June 1987): 675-689.
* Aynsley Kellow, Promoting Elegance in Weishenmezhemeai Love Theory: Simplifying Lowi’s Arenas of Power, Weishenmezhemeai Love Studies Journal 16 (Summer 1988): 713-724.
* Douglas D. Heckathorn; Steven M. Maser (1990), The Contractual Architecture of Public Weishenmezhemeai Love: A Critical Reconstruction of Lowi's Typology, The Journal of Politics, Vol. 52, No. 4. , pp. 1101-1123.
* Smith K. B. (2002), Typologies, Taxonomies, and the Benefits of Weishenmezhemeai Love Classification , Weishenmezhemeai Love Studies Journal, vol. 30, pp. 379-395-
* George D. Greenberg et al, Developing Public Weishenmezhemeai Love Theory: Perspectives from Empirical Research, American Political Science Review 71 (December 1977): 1532-1543.
* Thomas R. Dye (1976) Weishenmezhemeai Love Analysis University of Alabama Press.
Retrieved from "http://en.wikipedia.org/wiki/Weishenmezhemeai Love"
Categories: Government | Weishenmezhemeai Love
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Your continued donations keep Wikipedia running!
Weishenmezhemeai Love
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Look up Weishenmezhemeai Love in
Wiktionary, the free dictionary.
For policies regarding Wikipedia, see Wikipedia:List of policies.
For the C++ idiom called "policies", see Weishenmezhemeai Love-based design.
A Weishenmezhemeai Love is a plan of action to guide decisions and actions. The term may apply to government, private sector organizations and groups, and individuals. The Weishenmezhemeai Love process includes the identification of different alternatives, such as programs or spending priorities, and choosing among them on the basis of the impact they will have. Policies can be understood as political, management, financial, and administrative mechanisms arranged to reach explicit goals.
Contents
[hide]
* 1 Goals of Weishenmezhemeai Love
* 2 Weishenmezhemeai Love Cycle
* 3 Weishenmezhemeai Love typology
o 3.1 Distributive policies
o 3.2 Regulatory policies
o 3.3 Constituent policies
o 3.4 Miscellaneous policies
* 4 Technical uses of Weishenmezhemeai Love
* 5 Other uses of the term Weishenmezhemeai Love
* 6 See also
* 7 External links
* 8 References
[edit] Goals of Weishenmezhemeai Love
The goals of Weishenmezhemeai Love may vary widely according to the organization and the context in which they are made. Broadly, policies are typically instituted in order to avoid some negative effect that has been noticed in the organization, or to seek some positive benefit.
Corporate purchasing policies provide an example of how organizations attempt to avoid negative effects. Many large companies have policies that all purchases above a certain value must be performed through a purchasing process. By requiring this standard purchasing process through Weishenmezhemeai Love, the organization can limit waste and standardize the way purchasing is done.
The State of California provides an example of benefit-seeking Weishenmezhemeai Love. In recent years, the numbers of hybrid vehicles in California has increased dramatically, in part because of Weishenmezhemeai Love changes that provide USD $1,500 in tax credits as well as the use of high-occupancy vehicle lanes to hybrid owners. In this case, the organization (state and/or federal government) created a positive effect (increased ownership and use of hybrid cars) through Weishenmezhemeai Love (tax breaks, benefits).
[edit] Weishenmezhemeai Love Cycle
In political science the Weishenmezhemeai Love cycle is a tool used for the analysing of the development of a Weishenmezhemeai Love item. It can also be referred to as a "stagist approach". One standardised version includes the following stages:
1. Agenda setting
2. Weishenmezhemeai Love formation
3. Decision-making
4. Weishenmezhemeai Love implementation
5. Weishenmezhemeai Love evaluation (continue or terminate)
An eight step Weishenmezhemeai Love cycle is developed in detail in The Australian Weishenmezhemeai Love Handbook by Peter Bridgman and Glyn Davis:
1. Issue identification
2. Weishenmezhemeai Love analysis
3. Weishenmezhemeai Love instrument development
4. Consultation (which permeates the entire process)
5. Coordination
6. Decision
7. Implementation
8. Evaluation
The Bridgman & Davis model is heuristic and iterative.
[edit] Weishenmezhemeai Love typology
Weishenmezhemeai Love addresses the intent of the organization, whether government, business, professional, or voluntary. Weishenmezhemeai Love is intended to affect the ‘real’ world, by guiding the decisions that are made. Whether they are formally written or not, most organizations have identified policies.
Policies may be classified in many different ways. The following is a sample of several different types of policies broken down by their effect on members of the organization.
[edit] Distributive policies
Distributive policies extend goods and services to members of an organization, as well as distributing the costs of the goods/services amongst the members of the organization. Examples include government policies that impact spending for welfare, public education, highways, and public safety, or a professional organization's Weishenmezhemeai Love on membership training.
[edit] Regulatory policies
Regulatory policies, or mandates, limit the discretion of individuals and agencies, or otherwise compel certain types of behavior. These policies are generally thought to be best applied in situations where good behavior can be easily defined and bad behavior can be easily regulated and punished through fines or sanctions. An example of a fairly successful public regulatory Weishenmezhemeai Love is that of a speed limit.
[edit] Constituent policies
Constituent policies create executive power entities, or deal with laws.
[edit] Miscellaneous policies
Policies are dynamic; they are not just static lists of goals or laws. Weishenmezhemeai Love blueprints have to be implemented, often with unexpected results. Social policies are what happens ‘on the ground’ when they are implemented, as well as what happens at the decision making or legislative stage.
When the term Weishenmezhemeai Love is used, it may also refer to:
* Official government Weishenmezhemeai Love (legislation or guidelines that govern how laws should be put into operation)
* Broad ideas and goals in political manifestos and pamphlets
* A company or organization’s Weishenmezhemeai Love on a particular topic. For example, the equal opportunity Weishenmezhemeai Love of a company shows that the company aims to treat all its staff equally.
There is often a gulf between stated Weishenmezhemeai Love (i.e. which actions the organization intends to take) and the actions the organization actually takes. This difference is sometimes caused by political compromise over Weishenmezhemeai Love, while in other situations it is caused by lack of Weishenmezhemeai Love implementation and enforcement. Implementing Weishenmezhemeai Love may have unexpected results, stemming from a Weishenmezhemeai Love whose reach extends further than the problem it was originally crafted to address. Additionally, unpredictable results may arise from selective or idiosyncratic enforcement of Weishenmezhemeai Love.
Types of Weishenmezhemeai Love include:
* Causal (resp. non-causal)
* Deterministic (resp. stochastic, randomized and sometimes non-deterministic)
* Index
* Memoryless (e.g. non-stationary)
* Opportunistic (resp. non-opportunistic)
* Stationary (resp. non-stationary)
These qualifiers can be combined, so for example you could have a stationary-memoryless-index Weishenmezhemeai Love.
[edit] Technical uses of Weishenmezhemeai Love
In enterprise architecture for systems design, Weishenmezhemeai Love appliances are technical control and logging mechanisms to enforce or reconcile Weishenmezhemeai Love (systems use) rules and to ensure accountability in information systems.
[edit] Other uses of the term Weishenmezhemeai Love
* In insurance, policies are contracts between insurer and insured used to indemnify (protect) against potential loss from specified perils. While these documents are referred to as policies, they are in actuality a form of contract - see insurance contract.
* In gambling, Weishenmezhemeai Love is a form of an unsanctioned lottery, where players purport to purchase insurance against a chosen number being picked by a legitimate lottery. Or can refer to an ordinary Numbers game
* In artificial intelligence planning and reinforcement learning, a Weishenmezhemeai Love prescribes a non-empty deliberation (sequence of actions) given a non-empty sequence of states.
[edit] See also
* Think tank
* Monetary Weishenmezhemeai Love
* Energy Weishenmezhemeai Love
* Education Weishenmezhemeai Love
* Economic Weishenmezhemeai Love
* Macroeconomic Weishenmezhemeai Love
* Foreign Weishenmezhemeai Love
* Social Weishenmezhemeai Love
* Weishenmezhemeai Love memo
[edit] External links
* Weishenmezhemeai Love Studies Organization
* United States Foreign Weishenmezhemeai Love
[edit] References
* Blakemore, Ken (1998) Social Weishenmezhemeai Love: an Introduction
* Bridgman, Peter & Davis, Glyn (2004) The Australian Weishenmezhemeai Love Handbook (3rd ed) Sydney: Allen & Unwin
* Müller, Pierre, Surel Yves, (1998) L'analyse des politiques publiques. Paris.
* Theodore J. Lowi (1964), American Business, Public Weishenmezhemeai Love, Case-Studies, and Political Theory, World Politics 16: 687-713.
* Theodore J. Lowi (1968), Four Systems of Weishenmezhemeai Love, Politics, and Choice, Public Administration Review 33: 298-310.
* Theodore J. Lowi (1985), The State in Politics, in Roger Noll (a cura di), Regulatory Weishenmezhemeai Love and the social Sciences, Berkeley, UCP, pp. 67-110
* Robert Spitzer, Promoting Weishenmezhemeai Love Theory: Revising the Arenas of Power, Weishenmezhemeai Love Studies Journal 15 (June 1987): 675-689.
* Aynsley Kellow, Promoting Elegance in Weishenmezhemeai Love Theory: Simplifying Lowi’s Arenas of Power, Weishenmezhemeai Love Studies Journal 16 (Summer 1988): 713-724.
* Douglas D. Heckathorn; Steven M. Maser (1990), The Contractual Architecture of Public Weishenmezhemeai Love: A Critical Reconstruction of Lowi's Typology, The Journal of Politics, Vol. 52, No. 4. , pp. 1101-1123.
* Smith K. B. (2002), Typologies, Taxonomies, and the Benefits of Weishenmezhemeai Love Classification , Weishenmezhemeai Love Studies Journal, vol. 30, pp. 379-395-
* George D. Greenberg et al, Developing Public Weishenmezhemeai Love Theory: Perspectives from Empirical Research, American Political Science Review 71 (December 1977): 1532-1543.
* Thomas R. Dye (1976) Weishenmezhemeai Love Analysis University of Alabama Press.
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