Cinema

The word "film" refers to the film which is used to him as support

cinema (abbreviation of cinematograph) is a visual projection moving, generally wired for sound.

Let us note however that because of the diversity of films and freedom of creation, it is difficult to define what is the cinema today.

The fact of telling a history with images moving is not enough obviously to define the cinema, since there are films without "stories": in a direction them documentary but some "are also scénarisés" (documentary-fiction), and more still films of poetry or films abstracted.

One saw films without apparent movement (such as for example the Pier of Chris Marker or them cinétracts from May 68) composed of filmed photographs, films without turnings (films of files, or films experimental of found footage of which most known are undoubtedly those of Martin Arnold), of films without assembly (films carried out in turn-assembled, like those of George Méliès or of brothers Light), of films without its (silent films of course, but also quiet experimental films), and even of films without images such Weekend of Walter Ruttmann and the Atlantic Man of Marguerite Lasted

One cannot undoubtedly refer any more to the only medium strips (super 8, 16 mm, 35 mm, etc.), because of the new fashions of creation and diffusion (in particular video and numerical) which upset the cinema.

The word cinema also indicate them rooms or complexes of rooms in which the films are diffused. It is a little from there besides which ambiguity comes from the word. (Nobody has suddenly confused as for medium television, contents and the container).

The cinema is finally often called cinema, like comic strip the ninth art is called.


Synopsis

History

See detailed article: History of the cinema

The first paying cinematographic projection took place on December 28 1895 with the Indian Living room of the Large Coffee in Paris, with in particular film the Exit of the factory Light in Lyon. They are the beginnings of commercial cinema and ofcinematographic industry. Exploited face in rooms and in the fun fairs, the cinema quickly becomes a popular art. Very quickly, them brothers Light send cameramen throughout the world to bring back of them scenes of the life of tous.les.jours. They is the beginnings of cinema of current events. First attack with the freedom of the press, the operator of Light, Felix Mesguich, is stopped with in 1897 whereas it filmed a battle of snowballs. Within the framework of the war of the patents initiated by Edison, all itcinematographic industry fall under the monopoly from the "Edison Trust" until in 1918.

Precursor of the special effects, of cinema of fiction, of one theatrical cinema and of one poetic cinema, George Méliès, illusionnist of formation, carries out the first fictions equipped with special effects in horn-the?il (the Voyage in the moon (1902) inter alia).

In the years 1910, the American scenario writer David Wark Griffith codified the principles of the cinematographic language traditional (alternated assembly, variation from the points of view, insertion of the large plans in the scenes moved away, field-reverse shot, etc.)

Until the end of years 1920, no sound track accompanies the image on the film and it is then often a musician present in the room of projection which accompagne(nt) films: one speaks then about silent film (for narrative films) or of visual cinema (for films of art, it pure cinema), dialogues of narrative films being retranscribed by "called" "paperboards subtitles ", printed text inserted in film. The narrative films of then are often accompanied by a musician even a complete orchestra, and are projected in immense rooms: the current rooms are on average two to four times smaller than at the time. The musician had sometimes a partition specifies to interpret, or was inspired freely with the need on known airs (of opera Italian for example).

years 1920 with avant-gardes are the true beginning of the future " experimental cinema "which one can date the birth for example with Proclamation of futuristic cinematography (1916) and it dadaism : artists seize this incipient medium which is the cinema, such Fernand Leger, Man Ray, Germaine Dulac, Walter Ruttmann, Hans Richter, Eggeling Viking, etc. as well as scenario writers: Clear Rene, Henri Chomette, Dziga Vertov, Joris Ivens.

Many attempts were made to synchronize the sound and the image, for example by fixing the projector with sononographe. Its determined give rhythm projection formerly random (16, 18, 25 images per seconds according to arm's of the caméraman which turned crank, which causes an acceleration of the movement when they are projected at the current standard speed of 24 images per seconds).

From Singer of Jazz in 1927, of the sounds (of the music, then dialogues and sound effects) can be recorded and reproduced at the time of projection.

With the economic crisis of 1929, the number of spectators falls in the rooms: majors (large companies of production) of Hollywood decide to create a double ticket. For the price of an entry, the spectators can see two films: large (the series A) and small. It is the beginning of films of series B, whose principal objectives are to be not very expensive to produce, rapids to be made, not too long (between 50 and 70 minutes) and lucrative.

One of many innovative films of the time was one propaganda film Nazi, Gods of the stage, a presentation of Olympic Games of Berlin in 1936, glorifiant the German people and the alleged one " Aryan race ». The director, Leni Riefenstahl, puts for the first time of the cameras on cranes and creates the style and framings of films or reports sporting (Triumph of the will in is a notable example).

The major technical evolutions were the arrival thereafter of color and of broad formats in years 1950 (in order to give more broadth to the spectacle to compete with television), of narrow formats, the lightening of the material which allowed the projection of experimental cinema, of documentary cinema, and blossoming of New Wave in France, the arrival of synthesis of images data processing in years 1990 and the arrival of its numerical during the same time.

The post-war period sees the birth of modern cinema who breaks with the Hollywood classicism in what it privileges the document, the world "such as it is", in all its ambiguity or its opacity, and refuses to equip reality with a preestablished direction, already dramatic, immediately readable (neo-realism Italian of the years 1945-53, with the scenario writer Roberto Rossellini, Rome Open City, 1945). Roberto Rossellini, with Stromboli (1947), Europe 51 (1951) and especially Travel to Italy (1953), the way of a cinema will open where the world does not have obviously any more, where the account becomes fragmentary, hesitant and where the spectator becomes the only one parking direction. In the years 1960, the new Frenchwoman waves (François Truffaut, Jean-Luc Godard), Italian (Michelangelo Antonioni, Pier Paolo Pasolini), Eastern-European (Milos Forman, Miklos Jancso, Andrei Tarkovski), allemande (To groove Werner Fassbinder, Wim Wenders), north and South American (John Cassavetes, Glauber Rocha) amplify this movement which is characterized by a new esthetics (assembly chopped, elliptic, or on the contrary plane very long; mix fiction and of documentary) and new subjects (youth, crises existential, political claims).

In years 1960 also it appears cinema underground American closely related to the social movements of the time. This cinema amongst other things dissociates professional industry by the use of the film 16 mm and the creation of co-operatives which gives him a great freedom and enables him to circumvent the censure. (see: Jonas Mekas, Stan Brakhage, Andy Warhol, Carole Schneemann, Smith Jack)

From 1965, it super 8 becomes accessible to general public. It is it true birth of cinema amateur. This cinema will include/understand thereafter films "of series Z", because realized with even less means than films of series B. Like super the 8, its very light infrastructure, and its video cost less, it, initially very heavy and reserved for a "professional" use, will become in years 1980 a privileged medium, in particular for the young creators, allowing to make for example "private diaries filmed" (see for example films of Jonas Mekas, Lionel Soukas, No Sex Last Night of Sophie Calle or Tomorrow and still tomorrow, newspaper 1995 of Domenica Cabréra).

It should be noted that the denominations "series B" and "series Z", although indicating a lack of means, are not necessarily pejorative and are sometimes asserted like a counter-culture, by scenario writers refusing to enter the mould of majors. Among the famous realizers of series Z, one can quote for example ED Wood, Roger Corman (which launched Francis Ford Coppola, , Joe Dante and ) and Peter Jackson quite front the Lord of the Rings). In the same way it experimental cinema, even more in margin ofindustry cinematograph have its personelle history and parallel.

In the same line as it super 8, it 16 mm, and video, the arrival of numerical add a medium to the pallet of the possible light practices (removed development, pulling in optional laboratory) and makes easier the post-production of effects special (for example the Attack of the clones of George Lucas), or flexibility in the assembly (see the Spanish Inn of Cédric Klapisch) and of course lightness in turning (Glaneurs and the glaneuse one, ofAgnes Varda or the Virgin of the killers of Schroeder barbet spaniel).

Films

According to the countries, various styles of cinema appear clearly. The films produced in Europe and in the United States claim to show probable scenes in general. That is different for the cinema from other cultures, in particular the films produced in India, where the probability of the action is not of primary importance.

Classification of films

There is several way of classifying films. That can be done obviously by country, by realizers, by actors, by title, duration.

But that can also be done in a more theoretical way, by categories, currents, techniques, and kinds.

Country

Each country or almost has its cinema. See National cinema.

Durée/métrage

The films can also be classified according to their duration:

  • short films : measuring lower than 1 600 meters, is approximately a 59 minutes duration in 35 mm.
  • full-length films : measuring higher than 1 600 meters, in other words all the one hour old films and more.

Concept of medium-length film, frequently used to indicate long short films or full-length films not exceeding 75 minutes, does not correspond to any official designation.

Cinematographic categories

The classification by category is a classification by types of films. There are as many categories as there is practical possible.

The principal existing categories are:

See the detailed article: Cinematographic category

Cinematographic kinds

The classification by kind is a classification set of themes. There are as many kinds as there are possible universes. These kinds can be treated by the various cinematographic categories.

Examples: western, , fantastic, comedy, horror,police film, thriller, filmed theatre, film of dance, filmed newspaper, abstract film, body cinema, documentary film..

Films and series televised of alphabetically (French title)
other | With | B | C | D | E | F | G | H | I | J | K | L | M | N | O | P | Q | R | S | T | U | V | W | X | Y | Z

See the detailed article: Cinematographic kind

Cinematographic techniques

The cinema can be classified according to techniques' used.

Examples: cinema of animation, animated drawing, super 8, film of assembly, found footage, film with flickering...

See the detailed article: Cinematographic technique

Cinematographic currents

The cinema can also be classified by schools, movements, styles, treatments cinematographic, or more generally by cinematographic currents.

Examples: New wave, neo-realism, underground, Dogma, free cinema, expressionnism, Caligarism, direct cinema...

See the detailed article: Cinematographic current

Others

Cultural and economic stakes

Although it was joined by and to a lesser extent by the book, the cinema is the first mode of expression to have been presented at the same time in the form of a?uvre cultural and artistic and like a product industrialist intended for consumption of mass. It has indeed, like analyzed it Walter Benjamin, the characteristic to be an art basically reproducible. If that means that the concept of?uvre originalcannot have the same direction any more that for example in painting or sculpture, that also implies that it is possible to diffuse it on a large scale.

Wanting to move away from this aspect industrialist to attempt to emphasize the aspect artistic cinema, it is all current a parallel which was set up, since avant-garde years 1920, while passing by the cinema underground American, and until experimental cinema such as it today is known, in problems close to that tovideo art or ofvisual art.

Techniques of the cinema

Glossary of the techniques cinema

other | With | B | C | D | E | F | G | H | I | J | K | L | M | N | O | P | Q | R | S | T | U | V | W | X | Y | Z

See also: Technique and cinematographic grammar of the narrative cinema

Techniques of turning

The method of reproduction is similar with that used for photography and rests on the impression of a cinematographic film (silver process) per exposure to the light using a camera. The impression of movement is obtained by multiplying the catches of sight with very brought closer intervals; initially by 16 images a second, rate was increased with 24 i/s with the arrival of the sound cinema: indeed, the quality of the sound (band-width) depends on the tape speed of film.

For more details, to see the article Techniques of cinematographic turning.

Techniques of laboratory

The laboratory is an important phase of the creation of a film in film. This is why some scenario writers them-even them films in manner develop artisanal.

For more details, to see the article Techniques of cinematographic laboratory.

Techniques of assembly

The assembly cinema can be done with old (with scissors and with Scotch tape) or in virtual assembly via one . The assembly with stick is used for the conformation of negative at the laboratory.

For more details, to see the article Techniques of cinematographic assembly.

Techniques of projection

Let us note that television functioning with 25 i/s for the systems STAKE and SECAM (because of frequency electrical current domestic, 50 Hz), the films of cinema are slightly shorter and the sounds slightly acuter when they are diffused with television.

The phenomenon of retinal persistence allows to maintain perception the light received by the?il at the time of the masking of the change of frame which is projected motionless. ?il thus perceives the succession of images presented like a scene proceeding in front of him, intersected with the blinkings of eyelids. The illusion of an image moving results from a tendency of the brain to consider that similar images are sights of the same object which changed or moved (one calls this the "phi effect").

After development in specialized laboratories, one makes ravel the film in front of a source of white light (projector) which reproduces the image animated (film) on a reflective support (in general a white screen).

For more details, to see the article Techniques of cinematographic projection.

Trades of the cinema

The cinema can be a practice amateur, artistic, but it is also a trade association to whole share.

The principal stations of the industrial cinema are:

  • scenario writer
  • realizer
  • producer
  • actor
  • technicians
    • operators image
    • operators sound
    • decoration and costumes
    • post production

See the detailed article: Trades of the cinema

Stages of the manufacture of a film

The stages include/understand one or more following operations (each operation being more or less optional according to the type of film):

See the detailed article: Stages of the manufacture of a film

Institutions

Rewards

See the detailed article: Rewards of cinema

Festivals

See the detailed article: Festivals of cinema

See too

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