As the Lumiere brothers introduced private film screenings, cinema, up to this date, has been one of the many flourishing forms of entertainment in all parts of the world (Iddon, 2013). During that time, in the 1960s, the Philippines, boasting an estimate of 140 movies produced annually, has been one of the world's richest movie producers (Presse, 2012). In a nation like the Philippines that has produced hundreds of movies through time, film is more than just a mere form of entertainment; it is a record of who they are as people of the nation, what they do, and how they do things. Cinema is a window to a country’s culture and a direct link to its people’s heritage in the past. It is part of their identity, a projection of what they were before and what they aspire to be in the future. But film is not only about entertainment and culture …show more content…
Looking back at film history, Philippine cinema has been through a series of highs and lows, and currently continuing to head to its downfall. The once rich Philippine cinema is now dead due to various reasons. One factor that caused the downfall of Philippine cinema is excessive taxation. The government charges a 30 % entertainment tax on movies, plus other taxes like culture tax and the 12 % value-added tax (VAT) imposed on the equipment and materials used to produce the film, according to Attorney Jean Ross Abenasa (2009). Due to this, our local film industry is considered “among the most heavily taxed in Asia” (Abenasa, 2009). Also, due to the high taxes imposed on feature films, it would be very difficult for filmmakers to earn from ticket sales just to break even. They either have the choice of cutting budget for the next film or sell overpriced tickets to their audiences. Either way, this has a bad effect to the film industry in
Movies today are extremely expensive to make and are typically financed through either film studio contracts or from investors willing to take a risk. In order to be successful, movies need to be marketed and distributed either under contract by the film studios or by companies that specialize in such services. The aspects of financing, marketing and distribution of films have changed between the studio and independent systems over the years as the evolution of the film industry took place.
‘12 years a Slave, award winning film director Steve McQueen associates making a film to, "writing a novel – you're telling a story. " This message is powerful and defines the true purpose of filmmaking that is, ‘to tell a story.’(Victorino) Hollywood has capitalized on the aspect of visual storytelling first introduced in 1985 by the Lumiere brothers with their first movie ever made for projection -- Workers Leaving the Lumiere Factory. They (Hollywood), then designed a Studio System called Classic Hollywood Cinema to Finance, Organize, Produce, Market, Distribute, and Exhibit movies for financial gain while entertaining movie goers. This term was coined by David Bordwell, Janet Staiger and Kristin Thompson to define Hollywood’s film making during the period of 1913 to 1960. From the D.W. Griffith successful 1913 first movie ever shot in Hollywood, ‘In Old California’, to the James Cameron’s 2009 movie Avatar grossing over 760 million in the box office, this process continues to be effective and lives on today.
The Latin American film genre is one of the most known genre worldwide and one of the most popular and successful of all of the genres in this business around the world. Yearly a number of productions from Latin America become favored and demanded successes, often-earning high levels of recognition and recommendation. In foreign film categories and in events and functions such as the Oscars, which are very highly respected around the world, Latin American films are awarded and praised and unquestionably make audiences sit on seat’s edge to bear mind films being produced in countries here. Latin American films are most likely to be as successful as they are because of the mixture of all of the elements, which their cinema provides, including
They go to it but not for it. I think so, because most of the times movie even doesn’t play the role. I mean, that if there is a line to a ticket office, or one movie is sold out, people usually easily change their minds on choose another movie, or don’t wait in the line, and just go somewhere else.
" Cinema and the Nation. Ed. Mette Hjort and Scott Mackenzie. New York City, NY: Routledge, 2000. 260-277.
Marchetti, Gina, and Tan Kam. Hong Kong film, Hollywood and the new global cinema no film is an island. London: Routledge, 2007. Print.
Thompson, K 2003, ‘The struggle for the expanding american film industry’, in Film history : an introduction, 2nd ed, McGraw-Hill, Boston, pp. 37-54
Although in shambles, It did not take long for film to make a resurgence in France. Domestic production was boosted following the introduction of The Centre National de la Cinématographe, a government organization that provided assistance to the industry in the form of loans and training. Imported films, especially those from America, began flowing into France following its liberation by Allied forces, and moviegoers were suddenly exposed to years of new films they had been previously cut off from all at once. As the market for films began to heat up, French filmmakers were presented with two choices; continue producing films adapted from relatively outdated literary works in the classic French tradition, or imitate the Hollywood Studio system of production, creating big-budget features for an international audience with the assistance of the CNC. These contrasting styles of filmmaking...
The ‘New Hollywood Cinema’ era came about from around the 1960’s when cinema and film making began to change. Big film studios were going out of their comfort zone to produce different, creative and artistic movies. At the time, it was all the public wanted to see. People were astonished at the way these films were put together, the narration, the editing, the shots, and everything in between. No more were the films in similar arrangement and structure. The ‘New Hollywood era’ took the classic Hollywood period and turned it around so that rules were broken and people left stunned.
Stanley, Robert H. The Movie Idiom: Film as a Popular Art Form. Illinois: Waveland Press, Inc. 2011. Print
Over the years, Bollywood has emerged as its own distinct identity in the global film industry. Bollywood is the global leader in production of movies with a staggering 27,000 featured films and thousands of short films. (Pillania 1) However, Hollywood is still the leader in revenue generated. Due to the growth of the Indian market and globalization, Bollywood has made its way to the international markets.
Since the creation of films, their main goal was to appeal to mass audiences. However, once, the viewer looks past the appearance of films, the viewer realizes that the all-important purpose of films is to serve as a bridge connecting countries, cultures, and languages. This is because if you compare any two films that are from a foreign country or spoken in another language, there is the possibility of a connection between the two because of the fact that they have a universally understanding or interpretation. This is true for the French New Wave films; Contempt and Breathless directed by Jean-Luc Godard, and contemporary Indian films; Earth and Water directed by Deepa Mehta. All four films portray an individual’s role in society using sound and editing.
Fifteen years ago, South Korean cinema was in precipitous decline. It was facing deadly competition from Hollywood as import barriers were dismantled, and had almost no export market. Today, South Korean cinema is widely considered the most successful and significant non-Hollywood cinema anywhere in the world today. It is successful both in the domestic market, and internationally. This essay sets out to understand this phenomenon. First, it attempts to trace South Korean cinema’s comeback story. I feel a need to do this because I find that so many of my South Korean friends and colleagues are reluctant to admit this, or focus solely on the problems the industry is facing in the future. There may be worries about the future and there may be “ifs” and “buts” about the present state of the South Korean film industry. But we should start out by acknowledging its success.
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.
Movies take us inside the skin of people quite different from ourselves and to places different from our routine surroundings. As humans, we always seek enlargement of our being and wanted to be more than ourselves. Each one of us, by nature, sees the world with a perspective and selectivity different from others. But, we want to see the world through other’s eyes; imagine with other’s imaginations; feel with other’s hearts, at a same time as with our own. Movies offer us a window onto the wider world, broadening our perspective and opening our eyes to new wonders.