Film: Then and Now The film industry has always been somewhat of a dichotomy. Grounded firmly in both the worlds of art and business the balance of artistic expression and commercialization has been an issue throughout the history of filmmaking. The distinction of these two differing goals and the fact that neither has truly won out over the other in the span of the industry's existence, demonstrates a lot of information about the nature of capitalism. The modern film industry was born around the beginning of the twentieth century. On April 23rd 1896 Thomas Edition showed the first publicly-projected motion picture at Koster and Bial's Music Hall in New York City. From there the film industry had an explosive growth rate. In fact, not only was Thomas Edison the inventor of film but he is also responsible for the birth of media censorship. "The Kiss " was the first film ever made of a couple kissing in cinematic history. May Irwin and John Rice re-enacted a lingering kiss from their 1895 Broadway stage play The Widow Jones was also notorious as the first film to be criticized as scandalous and bringing demands for censorship."1 By 1900 films had already started taking their modern form as story telling narratives became the most popular production instead of documentaries. Between 1910 and 1914 Hollywood was born, annexed by Los Angeles and replaced the East Coast as the center for the new burgeoning film industry. The beginning of the First World War brought European filmmaking to a complete halt and made room for America as the world center for film production2. During this time some of the most influential names in film history made their names. D.W. Griffith directed some of the most famous films of the early twentieth c... ... middle of paper ... ...in many times in the past while massive budgets and licensing deals seem to be predominant Bibliography 1.Geduld, Harold. Focus On: D.W. Griffith. New Jersey: Inglewood Cliffs, 1971. 2.Epstein, Jay. The Big Picture. New York: Random House, 2005. 3.Scott, Allen. On Hollywood. New Jersey: Princeton University Press, 2005. 4.Henderson, Robert. D.W. Griffith: his life and works. New York: Oxford University Press, 1972. 5.Williams, Martin. Griffith, first artist of the movies. New York: Oxford University Press, 1980. 6.Nash, Bruce. 1997. The Numbers [online]. [cited 25 November]. Available from World Wide Web:(http://www.the-numbers.com/index.php) 7.Dirks, Time. 1996. Timeline of Influential Milestones and Important Turning Points in Film History [online]. [cited 23 November 2005]. Available from World Wide Web:(http://www.filmsite.org/milestonespre1900s.html)
With the loss of its centralized structure, the film industry produced filmmakers with radical new ideas. The unique nature of these films was a product of the loss of unified identity.
Beginning the mid 1920s, Hollywood’s ostensibly all-powerful film studios controlled the American film industry, creating a period of film history now recognized as “Classical Hollywood”. Distinguished by a practical, workmanlike, “invisible” method of filmmaking- whose purpose was to demand as little attention to the camera as possible, Classical Hollywood cinema supported undeviating storylines (with the occasional flashback being an exception), an observance of a the three act structure, frontality, and visibly identified goals for the “hero” to work toward and well-defined conflict/story resolution, most commonly illustrated with the employment of the “happy ending”. Studios understood precisely what an audience desired, and accommodated their wants and needs, resulting in films that were generally all the same, starring similar (sometimes the same) actors, crafted in a similar manner. It became the principal style throughout the western world against which all other styles were judged. While there have been some deviations and experiments with the format in the past 50 plus ye...
Grainge, P., Jancovich, M., & Monteith, S. (2012). Film Histories; An introduction and reader. Edinburgh: Edinburgh University Press.
Stanley, Robert H. The Movie Idiom: Film as a Popular Art Form. Illinois: Waveland Press, Inc. 2011. Print
Film-making is both an art and an industry. Many people were credited for the invention of motion picture. Some major names associated with motion picture include, Thomas Edison, Eadweard Muybridge, and the Lumiere brothers. There were several stages in the making of motion picture.
Thompson, Kristin , and David Bordwell. Film History : An Introduction. 3 ed. New York:
Sklar, Robert. Movie-made America: A Social History of American Movies. New York: Random House, 1975. Print.
Describe some ways in which business values and artistic values in Hollywood contend with one another.
Lewis, J. (2008). American Film: A History. New York, NY. W.W. Norton and Co. Inc. (p. 405,406,502).
Christie, Ian (1 August 2012). "The Top 50 Greatest Films of All Time". Sight & Sound. British Film Institute. Retrieved 12 May 2014
In considering some of the reasons for the recent success of South Korean cinema, two further observations can be made. First, if we pay attention to the international export success of South Korean cinema, we can see that it has carved out a new route. This is based on regional markets at least as much as Europe and the United States. Second, unlike the successes of the Taiwanese and Chinese “new waves” since the 1980s, it is not based on the old European art cinema model. This raises a question about the viability of art cinema, independent feature films, short films, independent documentary, and other less profitable and commercial modes of filmmaking in South Korea. It may even lead some people to believe that those other modes of filmmaking are not an integral part of the new South Korean cinema success story. Yet, my third and final point will be to argue against this and for the importance of what I want to tentatively call “full service cinema,” including a full range of modes of production and consumption. In making this point, I want to challenge another very common assumption not only in South Korea but everywhere—the idea that art cinema and independent cinema are opposed to mainstream commercial cinema. While there may be an aesthetic opposition between them, it is a strategic mistake to translate this into an institutional opposition. Even though their philosophies may be very different, as I will attempt to outline today, they need each other to succeed.
The American film industry’s early attempts at the narrative Western were limited and in the early years were produced mainly in the east. During this early time in the film industry the...
film can make or break a movie. Marketing a film takes up a great deal of the money that is
Thompson, K 2003, ‘The struggle for the expanding american film industry’, in Film history : an introduction, 2nd ed, McGraw-Hill, Boston, pp. 37-54
It is no doubt that Martin Scorsese has heavily influenced the emulating of American film making from European influences. He is a prime example of a ‘New Hollywood Cinema’ director, not only from his ethnicity and background, but from his sheer interest in this form