History of film

Film

A film, also called a

movie or

motion

picture, is a series of still or

moving images. It is

produced by

recording

photographic images with cameras, or by creating images using

animation techniques or visual effects. The process of filmmaking has developed into an

art form and industry.

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

films

have

become

popular

worldwide

attractions

by

using

dubbing or subtitles that translate the dialogue into the language of the viewer

.

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

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, moving picture, photo-play and flick. A common name for film in

the United States is movie, while in Europe the term film is preferred. Additional terms

for

the

field

in

general

include

the

big

screen,

the

silver

screen,

the

cinema

and

the

movies.

History of film

A

clip

from

the

Charlie

Chaplin

silent

film

The

Bond

(1918)Preceding

film

by

thousands

of

years,

plays

and

dances

had

elements

common

to

film:

scripts,

sets,

costumes,

production,

direction,

actors,

audiences,

storyboards,

and

scores.

Much

terminology

later

used

in

film

theory

and

criticism

applied,

such

as

mise

en

scene

(roughly,

the

entire

visual

picture

at

any

one

time).

Moving

visual

and

aural

images

were not recorded for replaying as in film.

In

the

1860s,

mechanisms

for

producing

two-dimensional

drawings

in

motion

were

demonstrated

with

devices

such

as

the

zoetrope,

mutoscope

and

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.

With

the

development

of

celluloid

film

for

still

photography,

it

became

possible

to

directly

capture

objects

in

motion

in

real

time.

An

1878

experiment

by

English

photographer

Eadweard Muybridge in the United

States using 24

cameras produced a

series of stereoscopic images of a galloping horse, is arguably the first

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though it was not called by this name.[1] This technology required a person to look into

a

viewing

machine

to

see

the

pictures

which

were

separate

paper

prints

attached

to

a

drum turned by a handcrank. The pictures were shown at a variable speed of about 5 to

10

pictures

per

second,

depending

on

how

rapidly

the

crank

was

turned.

Commercial

versions of these machines were coin operated.

A

frame

from

Roundhay

Garden

Scene,

the

world's

earliest

film

produced

using

a

motion

picture

camera,

by

Louis

Le

Prince,

1888By

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

picture shows

be known as

pictures

motion pictures were static shots that showed an

event or action with no editing or other cinematic techniques. The first public exhibition

of projected

motion

pictures in America

was shown at Koster and Bial's Music Hall in

New Y

ork City on the 23rd of April 1896.

Ignoring

Dickson's

early

sound

experiments

(1894),

commercial

motion

pictures

were

purely

visual

art

through

the

late

19th

century,

but

these

innovative

silent

films

had

gained

a

hold

on

the

public

imagination.

Around

the

turn

of

the

20th

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

with

noise

of early

cinema

projectors,

theater

owners

would

hire

a

pianist

or

organist

or

a

full

orchestra

to

play

music

that

would

cover noises of projector

. Eventually, musicians would start to fit 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.

A

shot

from

Georges Mé

liè

s

Le

Voyage

dans

la

Lune

(A

Trip

to

the

Moon)

(1902),

an

early

narrative

rise

of

European

cinema

was

interrupted

by

the

outbreak

of

W

orld

W

ar

I

when

the

film

industry

in

United

States

flourished

with

the

rise

of

Hollywood, typified

most prominently by the great innovative

work of D. W

. Griffith in

The Birth of a Nation (1914) and

Intolerance (1916).

However in

the 1920s, European

filmmakers

such

as

Sergei

Eisenstein,

F.

W

.

Murnau,

and

Fritz

Lang,

in

many

ways

inspired

by

the

meteoric

war-time

progress

of

film

through

Griffith,

along

with

the

contributions

of

Charles

Chaplin,

Buster

Keaton

and

others,

quickly

caught

up

with

American film-making and continued to further 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

The

next

major

step

in

the

development

of

cinema

was

the

introduction

of

so-called

color

which

meant

color

that

was

photographically

recorded

from

nature

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