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the history of film industry
the history of film industry
history of filmmaking
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Once a pond a time, long long ago, there where several motion picture production studios – RKO, Warner Brothers, Metro-Goldwyn-Mayer, United Artist, Universal Studios, Paramount Pictures, Walt Disney Pictures and Columbia Pictures that controlled 90% of the film industry in America since the invention of motion pictures. These production houses cranked out films by the masses to quince young America’s thirst for entertainment. Most of the film had very similar plot, themes and actors. Each studio house would put their spin on the story to make it their own. Sometimes rival studio would release the same types of film on the same day to attract customer from viewing another studios film. I think it wasn’t until the invention of the production designer position that studios started to form their identity. In the late 1800’s, theater was how most people saw entertainment. Smaller theaters where littered all across small town America, with major theater in heavily populated cities. The major theater where heavily decorated and going to one was a treat, the performances where spectacles of amazement for the time. The colorful costumes, live music and realistic backdrops where a sight to see. People would sand in line for hours just to get a change to view some of the more popular stage plays at the time. In the late 1800’s photography was born and not too long the first picture where produced. The first film where merely still images, when flipped in a sequence order, the stills looked as if they where moving. Film goers where first leery of this new technology but over time they embraced it and wanted more. As like with any new technology, film started to evolve. Synchronized sound was now being introduced to silent films. The first... ... middle of paper ... ... and miniature building, quicker, easier and more cost effective to make countless storyboards for a film. In today’s film industry the Art Department is mostly computerized. There are countless graphic designer, motion capture designer and visual designer at the ready that can produce a world on a computer screen in half of the time it would take for Menzies to do his sketches. The independent film company has the choice to pick his Production Designer - PD, where in the old studio system, the system told the director whom they would have to work with and to stick to the studio vision of the film. PD’s now have the power to express the visions that they want and not force to produce. With the PD’s freedom to express their vision, the film industry production value has risen to new heights. If a production designer can dream it, their team can bring it to life.
In the film industry, there are directors who merely take someone else’s vision and express it in their own way on film, then there are those who take their own visions and use any means necessary to express their visions on film. The latter of these two types of directors are called auteurs. Not only do auteurs write the scripts from elements that they know and love in life, but they direct, produce, and sometimes act in their films as well. Three prime examples of these auteurs are: Kevin Smith, Spike Lee and Alfred Hitchcock.
Citizen Kane, directed by Orson Welles, was an exemplary and ground-breaking work. In narrative structure and film style, Welles challenged classical Hollywood conventions and opened a path for experimentation in the later 1940s. Gregg Toland’s deep-focus cinematography and Welles’ use of low-key lighting are often discussed aspects of the movie. True, these were areas of innovation, but when watching the movie in class I was particularly struck by the use of camera movement, or “mobile framing” as described in Film Art. In this historical analysis, I will take a detailed look at how Welles and Toland use camera movement to develop and challenge the Hollywood style. By referring to other movies viewed in Professor Keating’s class, including The Cheat, Wings, Applause, Double Indemnity, The Last Laugh and Bicycle Thief, this paper traces one aspect of innovation and diffusion in the movie many call the greatest film ever, Citizen Kane.
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.
Auteur theory holds that, ‘a director’s films reflect that director’s personal creative vision, as if he/she were the primary author. From the earliest silent films to contemporary times motion pictures have crossed over and both entertained and educated the viewing audience.
...ion, there have been many amazing contributors to help in the evolving of film editing techniques and technology since it all started in the early 1900s. Danny Boyle sets the example for the modern film society about how directors should look at their work. Lev Kuleshov set the bar when he created the Kuleshov Effect of juxtaposing images together, creating a subtext to the audience. In the early1900s, Edwin Porter made the first narrative film which is a type of film that has been used most commonly ever since. The history of film has changed drastically ever since it has started. Changes in technology and styles of film are completely different today than when it all started only a little over a hundred years ago. Though, film is not done changing. It won’t be long until another talented director comes a long and sets the bar higher for how a film should be done.
With his down-the-rabbit-hole approach to design and obsessive attention to detail, Wes Anderson, writer, director and auteur, is best known for his highly stylized movies. His extremely visual, nostalgic worlds give meaning to the stories in his films, contrary to popular critical beliefs that he values style over substance. Through an analysis of his work, I plan to show that design can instead, give substance to style.
” … an auteur is able to maintain a consistency of style and theme by working against the constraints of the Hollywood mode of production.” – Warren Buckland (2008)
With this short but very interesting and informative class I have just scratched the surface of the what it takes to make a full fleged film. It takes much more than I had presumed to make a movie in Hollywood. The number of people that it takes to make a minute of a movie let alone the entire movie was astonishing to me. There are many things that it takes to start making a movie but without an idea of some sort there is no movie to be made.
As time and people are continually changing, so is knowledge and information; and in the film industry there are inevitable technological advances necessary to keep the attraction of the public. It is through graphic effects, sounds and visual recordings that all individuals see how we have evolved to present day digital technology; and it is because of the efforts and ideas of the first and latest great innovators of the twentieth century that we have advanced in film and computers.
With the discovery of techniques such as continuous editing, multiple camera angles, montage editing, and more, silent filmmaking developed from simple minute-long films to some of the most beautiful, awe-inspiring films that have ever been created—in only a few decades. In Visions of Light, someone alluded that if the invention of sound had come along a mere ten years later, visual storytelling would be years ahead of what it is today. This statement rings true. When looking at the immense amount of progress that was made during the silent era of films, one must consider where the art of film has been, where it is, and where it is
Before each of these conventions is defined and analysed the process of making a Classical Hollywood film must first be described; it begins with either the completion of a script or the hiring of a scr...
Ondaatje, M. (2004). The Conversations: Walter Murch and the Art of Editing Film. New York: Alfred A. Knopf.
Thompson, K 2003, ‘The struggle for the expanding american film industry’, in Film history : an introduction, 2nd ed, McGraw-Hill, Boston, pp. 37-54
The art of filmmaking has been around for over a hundred years and now has over a hundred different specialized jobs in its field. According to the Bureau of Labor Statistics, “key grip, gaffer, best boy, boom operator, and director of photography are just a few of the jobs in the field of filmmaking that are essential to the process of creating a movie or TV show” (From Script #1). But before any of these people are able to get a job, they must go through an average of four years of college in order to specialize in film (Zeke). Filmmaking is a very complex and involved career that is crucial to the pursuit of happiness on earth and the telling of history.
Offering the unique ability to visually and audibly convey a story, films remain a cornerstone in modern society. Combined with a viewer’s desire to escape the everyday parameters of life, and the excitement of enthralling themselves deep into another world, many people enjoy what films stand to offer. With the rising popularity of films across the world, the amount of film makers increases every day. Many technological innovations mark the advancement of film making, but the essential process remains the same. Pre-production accounts for everything taken place before any shooting occurs, followed by the actual production of the film, post-production will then consist of piecing the film together, and finally the film must reach an audience. Each step of this process contributes to the final product, and does so in a unique right. The process of film making will now start chronologically, stemming from the idea of the story, producing that story into a film, editing that footage together, and finally delivering that story to its viewers.