Development of film through 20th and into the 21st Century - Coursework Example

DEVELOPMENT OF FILM THROUGH 20TH AND INTO THE 21ST CENTURY by submission Introduction Cinematography industry began in late 19th century, and developed through the years, transforming into a leading global industry, currently witnessed today. In the periods preceding 1920s, crank camera method of filmmaking was predominant. Most films created in this era were very short, precisely under a minute long and did not have any sounds. Motor-driven cameras were present at that time, and, therefore, could have been used in developing films. However, the machines were so huge that it made the whole process cumbersome and ineffective (Chen and Churchill 2007). Given the circumstances in these times, the onus was placed upon the cinematographer to crank the film steadily to uncover the frames. History of Film Production In the late 19th century, motor-driven projectors became the preferred choice when showing the films. By early 1900s, twenty-four frames per second standardized method became most famous for projecting films. The characteristic discrepancies in filming speeds due to being dependent on cinematographers hand speed saw the process of filming remain unstandardized for an extended period. A skilled cinematographer was able to film a complete film at constant speeds; however, variations were made in order to incorporate special effects. Georges Melies, the traditional French filmmaker, was the first individual to use changing backgrounds and outfits to narrate his story (Barker and Austin 2000). Prior to that event, most films were short and took place on a single set. His idea on stage opened up a wide variety of new prospects and stimulated growth in the mostly green industry. As the film industry spread and wide, American cinematographers thought it wise to find a central location that would serve them better in creating films uninterrupted. California features of bright sunlight, favourable climatic conditions and a wide-ranging terrain made it perfect for filmmakers, and, thus, ended up being their preferred choice. Hollywood, as is commonly known became a chosen heaven for movie creators. Key innovations of this period also played a vital role that propelled Hollywood dominance in the film industry. Hollywood became an audience pleaser, as technological advancements in the use of double reel in filming made it possible to have lengthy films (Hill & Gibson 2000). The two-hour long films replaced the short 30 minutes films. The double reel camera became a darling for filmmakers. The film industry grew exponentially on two fronts, both financially and in creativity. Film producers in Hollywood swiftly learned that movie spectators were attracted to particular artists and film players, the "movie stars," who could draw the largest crowds, thus, bringing in a lot of revenues. Colloquially, this is referred to as the "Star System." This discovery in Hollywood came as a surprise, and from there on movie stars in Hollywood started earning more than other actors, as demand for their services increased. The continued innovation in Hollywood saw filmmakers develop the studio system. The general public demand for new films was on the rise, and producers had to devise a method to satisfy the ever-growing demand for new feature films. The filmmaking process became specialized in movie production structured into different centres (Hill & Gibson 2000). Films were produced in parts, and then incorporated into the correct sequence through film editing techniques. As a result, the film props were repeatedly used and re-used in separate scenes, increasing production. The film industry in Hollywood progressed rapidly, exploring the American local market and beyond. Global distribution of Hollywood films took centre stage for a short period, a move that was truncated by the outbreak of the First World War (WWI). American involvement in the war was insignificant, and, therefore, the internal environment made it conducive for continued film production. Other countries actively involved in film production in England, France and Italy were actively involved in the war, and so by the time it ended, Hollywood was conducting mass distributions across Europe and other parts of the world. By 1920s, Hollywood had become the biggest global film manufacturer and supplier (Richard 2012). Technological advancements that made it possible for the production of sound films consolidated Hollywoods position in the global film industry. American film producers swiftly grasped the notion of social art in cinematography. They came to the understanding that films are appreciated more when watched in venues that accommodated many people. This knowledge led to the development of vast comfortable and lavish film theatres, fitted with functioning air conditioning systems. Movie theatres were opulently constructed and had snacks available for revellers. It is reported that after Paramount pictures purchased Katz and Balaban film theatres, approximately two million individuals showed up for their film screenings daily (Villarejo 2007). The number was considered high at that time, considering that the American economy was suffering a major depression and that the population at that time was capped at 125 million, most of whom were small children. Evolution, History and Development of Film Genres Genre examination involves the deepest understanding of the transformation of a genre over time. The transformation of genres is affected profoundly by cultural variation and historical accounts of events taking place at the time the genre is being developed. For example, Hollywood films clearly depict the historical events taking place, in the world and locally. For instance, the Solo character was very prevalent in the films produced in the 1940s and 1950s. The character however transformed into assemblage of heroes in later years of 1960s and 70s, with television programs such as Bonanza (Schwartz 2001) The constant battles between Native Americans and Red Indians were depicted in cowboy movies such as the searchers and stagecoach. These battles took place earlier in American towns, but in rural American settlements, disagreements on issues relating to land took centre stage much later. The period between 1975 and 1990 featured the Americans against the Soviet Union in a silent, cold war. The same could feature in cinemas when Hollywood embarked on producing espionage movies and television series (Barnwell 2008). Urban crime was also rampant during the same period and thriller cop detective movies were produced to reflect the same. Film genres additionally gain a lot of recognition with particular spectators who look out for these genres in relation to cultural or historical events taking place at a particular time. When the world was hit by the great depression, individuals assembled in film theatres to enjoy Hollywood produced romantic comedy films as an avenue for evading the bleak realities of daily struggles typified by resource deprivation and deficiency. Science fiction movies reflected changes in societal beliefs and fears. Certain science fiction movies portrayed alien invasions such as Men in Black movie during the period that featured after the Second World War (WWII) (Richard 2012). In the period between 1935 and after the WWII, Americans articulated racial apprehensions as evidenced in the growth of the Klu-Klux-Clan. The same was depicted in the American movie, King Kong. In the period after 1990, there was heightened the production of formulaic genre movies. This came as a result of increased need for managing media house corporations over the forms of movies created. Major investments were made in producing high-end specialized movies with special effects. Film studio directors, therefore, turned to producing movies that were considered safe, films that had a certain percentage of return on investment. Familiar film genres were therefore preferred. Television Genres verses Movie There are fundamental variations between television genres and cinema genres. Genres in films are relatively broad, for instance, the western, comic, espionage, science fiction etc., while on the other hand, television genres tend to be mostly specific, for instance, sports shows, social talk shows and crime scene investigative action episodes. A movie that represents particular movie genres are more inclined to be self-enclosed, i.e. the disagreement is usually determined within the particular movie or subsequent parts of a sequel (Barnwell 2008). Conversely, a television program genre is inclined in parts to a serial that features a storyline, which may go on for lengthy periods and develop, or the program characters may progress across various parts. Theories of Influences on Film Content Films produced reflect the social reality or beliefs in a profound way. Most films are dramatized to reflect the societal cultures of the featured individuals. Researchers tasked with finding content for production employs the use of the mirror approach, which what is created reflects the social reality to the spectators. The null-effects perspective proposes that film content imitates actuality, but it perceives this actuality as the outcome of concessions between individuals who trade information to the producers and those individuals who purchase it; these forces interact with each other to generate an independent depiction of events. The content produced is swayed by the participants socialization and perceptions. This method is referred to as the communicator-focussed approach. The method proposes that mental elements inherent in the filming staff; their personal, political affiliations and professional orientations and training influence them to develop a social truth in which consensus between social clusters is the custom, and in which fresh ideas or perceptions are regarded as unwanted oddities (Olney 2013). This perspective envisages that individuals tasked with generating content will depict deviant individuals as an oddity that rational individuals will not take seriously. Film material is also influenced by routines. The organizational routines perspective proposes that channels in which film staff members organize their schedules and their organizations arrange the duties affect film content. The individuals directing the films determine how the story will be narrated, and how content will be disseminated to the mass (Mark & Bruce 2006). Scriptwriters are also trained on how to write their narrations in the inverted pyramid method. Individuals tasked with the responsibility of assessing the story determine what the content of the story will be. Societal forces and associations also influence film substance. This theoretical framework implies that certain factors outside the jurisdiction of the individuals communicating the content and the company are responsible for the influence. Such factors include cultural elements, economic elements and the audience intended to receive the content. For instance, the market approach appropriates the influence in the producers aspiration to give the spectators what they want to see to make certain that huge audiences turn up for the sale of the sponsors merchandise. Conversely, the social responsibility perspective assesses the influence to be in the producers aspiration to provide material that the spectators need rather than satisfy their wants (Olney 2013). Film content is subject to socio-political positions and upholds the status quo. Control is a wide hypothetical perspective proposing that content is influenced by the philosophy of those individuals in powerful positions in the society. The weight put on the cultural significance in filmed material varies from that of the sociology scholars who have been apprehensive with material to the degree that it generates effects. The analysis that is humanistic in nature has a tendency to take the content as a base and track backwards to understand the origin and the dynamics of the culture creating it comprehensively (Olney 2013). Behaviourists theorists have conventionally taken the content as a foundation, operated frontward to evaluate the effects non-partisan to, and shaped by the message. In developing symbolic material, the generators of the films are reliant on the external providers of the raw material, whether interviews, past narrations or proceedings. The suppliers of such information have profound influence on the overall produced content, for instance, the creators of the film Zero Dark Thirty interviewed individuals who took part in the operation that saw the leader of the terrorist group Al-Qaeda gunned down (Olney 2013). The providers of this information dictated the routine and the direction the narrative took. These routines can be seen as an adaptation constrained by the sources of the information. Conclusion The history of cinematography depicts the transformations of the industry from late 19th century to what it is today. The industry has grown exponentially, developing into highly specialized entities that cater for different market segments. Different theorists have advanced arguments defining and explaining the content that is produced within the production houses, content classified under the bigger “mass media” umbrella. The significance appropriated on the cultural importance in filmed content differs from that of the sociology theorists, who have been overly apprehensive with content to the point that it generates effects. The world continues to witness different transformations in the industry with genres specific to the market demands being created every day. Bibliography Barker, M. and Austin, T. (2000). From Antz to Titanic. London: Pluto Press. Retrieved from http://readinglists.ucb.ac.uk/items/0A79CE58-9486-138F-7DBA-0D32030A60A9.html?referrer=%2Flists%2FA9BC3C55-1734-B513-CEE1-C062517D08F3.html%23item-0A79CE58-9486-138F-7DBA-0D32030A60A9 Barnwell, J. (2008). The fundamentals of film-making. Lausanne, Switzerland: AVA Pub. Retrieved from http://readinglists.ucb.ac.uk/items/9C9BD300-4FBB-2C7F-B6CB-8E106B102683.html?referrer=%2Flists%2FA9BC3C55-1734-B513-CEE1-C062517D08F3.html%23item-9C9BD300-4FBB-2C7F-B6CB-8E106B102683 Chen, T. and Churchill, D. (2007). Film, history and cultural citizenship. New York: Routledge. Retrieved from http://www.routledge.com/books/details/9780415771177/ Hill, J. and Gibson, P. (2000). Film studies. Oxford: Oxford University Press. Retrieved from http://readinglists.ucb.ac.uk/items/B5664A91-04C8-7562-7BEA-053DDEB1F7FD.html?referrer=%2Flists%2FA9BC3C55-1734-B513-CEE1-C062517D08F3.html%23item-B5664A91-04C8-7562-7BEA-053DDEB1F7FD Mark A. Graves and F. Bruce Engle (2006). Blockbusters: A Reference Guide to Film Genres . Westport, CT and London: Greenwood Press 2013. xv+344 pp., ISBN: 978 0 313 33094 8: Reference Reviews, 21(4), pp.32-34. Retrieved from http://www.cro3.org/content/44/07/44-3610.extract Richard Koszarsk (2012). Film History Marches On! Film History, 24(4) The First Film Fiction, pp.363-367. Retrieved from http://www.jstor.org/discover/10.2979/filmhistory.24.4.363?searchUri=%2Faction%2FdoBasicSearch%3FQuery%3DFilm%2BHistory%2BMarches%2BOn%26amp%3Bprq%3DA%2BReference%2BGuide%2Bto%2BFilm%2BGenres%26amp%3Bgroup%3Dnone%26amp%3Bhp%3D25%26amp%3Bwc%3Don%26amp%3Bso%3Drel%26amp%3Bacc%3Doff%26amp%3Bfc%3Doff&resultItemClick=true&Search=yes&searchText=Film&searchText=History&searchText=Marches&searchText=On&uid=2129&uid=2134&uid=2&uid=70&uid=4&sid=21106129938531 Olney, A. (2013). Predicting Film Genres with Implicit Ideals. Front. Psychology, 3. Retrieved from http://www.ncbi.nlm.nih.gov/pmc/articles/PMC3573840/ Schwartz, R. (2001). Noir, now and then. Westport, CT: Greenwood Press. Retrieved from http://readinglists.ucb.ac.uk/items/057DC798-CB7C-202F-44EF-A800942E10F5.html?referrer=%2Flists%2FA9BC3C55-1734-B513-CEE1-C062517D08F3.html%23item-057DC798-CB7C-202F-44EF-A800942E10F5 Villarejo, A. (2007). Film studies. London: Routledge. 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