Cinema
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Cinema (from the Greek. κινημα, genus. p. κινηματος — movement and Greek. γραφω — to write, draw; that is, "recording movement") is a branch of human activity that consists in creating moving images.
Sometimes also referred to as cinematography (from the French cinématographe, obsolete) and cinematography.
The name is borrowed from the device of the same name, invented by the Lumiere brothers, and marked the beginning of the commercial use of the technology.
Cinema was invented at the end of the XIX century and became extremely popular in the XX century.
The concept of cinema includes cinema art — a type of modern visual art, the works of which are created with the help of moving images, and the film industry — film industry) - a branch of the economy that produces films, special effects for films, animation, and demonstrates these works for the audience.
Works of cinema art are created with the help of cinema equipment.
The study of cinema is engaged in the science of film studies.
The films themselves can be shot in various genres of feature and documentary films.
Cinema occupies a significant part of the modern culture of many countries.
In many countries, the film industry is an important branch of the economy.
The production of films is focused on film studios.
Films are shown in cinemas, on television, distributed "on video" in the form of videotapes and video discs, and with the advent of high speed Internet, it became possible to download movies in the form of video files on specialized websites or through peer to peer networks, as well as viewing online (which may violate the rights of the copyright holders of the film).
Content
1 History 1.1 The Era of Silent cinema 1.2 The appearance of sound 1.3 The appearance of color 1.3.1 The appearance of color cinema in Russia
1.4 Further technological progress in cinema
2 Types of cinema 2.1 Feature and documentary films 2.2 Short films 2.3 Documentary films 2.3.1 Educational films
3 Technical features 3.1 Screen aspect ratio 3.2 Cinema systems 3.3 "The effect of the 25th frame" 3.4 Digital cinema
4 Artistic features 5 Film Schools 5.1 Independent American Cinema 5.2 English Cinema 5.3 French cinema 5.4 Italian cinema 5.5 German cinema 5.6 New film schools
6 Cinema Professions 7 Film Festivals and film Awards 8 Cinema databases 8.1 IMDb
9 See also 10 Notes 11 References 12 References
History[edit / edit wiki text]
Main article: The History of cinema
Historically, cinema appeared as a result of solving the problem of fixing the image of the continuous movement of objects on a material carrier and projecting this movement onto the screen.
To solve this problem, it was necessary to create several technical inventions at once: a dry bromelatine photo process with high photosensitivity, a flexible and strong basis for film film, a high speed chronophotographic shooting device and a projector with the same speed.
The first flexible light sensitive non flammable film was invented by the Russian photographer I. V. Boldyrev in 1878-1881, then by the American inventors G. Goodwin in 1887 and J. V. Boldyrev.
Eastman created a combustible, celluloid film in 1889.
The first chronophotographic devices were designed in the 80s of the XIX century.
These include: "photorun" by the French physiologist Jules Marais (1882), the apparatus of the French inventor Louis Leprance (1888), the apparatus of the English inventors W. Fries Green and M. Evans (1889), the apparatus of the Russian photographer V. A. Dubuque (1891), the "Phonoscope" of the French physiologist J. Demeny (1892).
Pioneers in the creation of units for the projection screen is quickly replaced by the images was of German and Russian photographers Ansuz O. and V. A. Dubuc, created respectively in 1891 and 1892 projection devices of different designs, but with the same name — "Thestop", a French inventor E. Reynaud, created in 1892, the projector under the name "Optical theater", and Russian inventors I. A. Timchenko and M. F. Freudenberg (1893).
The Lumiere brothers (Auguste on the left, Louis on the right in the photo)
The inventions that are closest to cinema in terms of their technical characteristics are: Edison's "kinetoscope", I. A. Timchenko's apparatus (1893), J. Demeny's" chronophotograph " (1893), the projector of the American inventor J. A. Le Roy (1894), the projector "panopticon" of the American inventor W. Latham (1895), the "pleograph" of the Polish inventor K. Prushinsky (1894) , etc.
And already in 1895-1896, devices were invented that combine all the main elements of cinema: in France — the "cinematograph" of the brothers L. Lumiere and O. Lumiere (1895) and the "chronophotograph" of J. Demeny (1895); in Germany — the "bioscope" of M. Skladanovsky (1895) and the film projector of O. Mester (1896); in England — the "animatograph" of R. W. Paul (1896); in Russia — the "chronophotograph" of A. Samarsky[source not available specified 350 days] (1896) and "strobograph" by I. Akimov (1896), in the USA — "vitascope" by T. Armata (1896).
The beginning of the spread of cinema was marked by the shooting and public demonstration of the first short films.
On March 22, 1895, the Lumiere brothers demonstrated their "cinematograph" for the first time in Paris, on November 1 of the same year in Berlin, M. Skladanovsky demonstrated his "bioscope", and on December 28, the first commercial session took place in the Grand Cafe salon on Capuchin Boulevard[1].
During the years 1896-1897, public demonstrations of short films were produced in all world capitals.
In Russia, the first show was organized on May 4, 1896 in St. Petersburg (in the Aquarium garden), then in Moscow and at the All Russian Fair in Nizhny Novgorod.
At the same time, the first Russian amateur films were shot (V. Sashin, A. Fedetsky, S. Makarov, etc.).
On January 3, 1897, the first trial session of the "living pictures" of the Lumiere brothers system was held in the Kiev Noble Assembly, at the corner of Duma Square and Khreshchatyk.
A few months later, the famous theater entrepreneur Nikolai Solovtsov purchased a movie camera and began touring with it in Kiev, the Volga cities and further across Siberia.
The first film shooting in the Russian Empire was made by the photographer A. Fedetsky in Kharkiv (1.5 minutes, "The Transfer of the icon of the Ozyanskaya Mother of God").
The first Russian documentary film was "The view of the Kharkiv railway station at the time of the departure of the train with the authorities on the platform" (1896).
And suddenly something clicks, everything disappears, and a railway train appears on the screen.
He is rushing like an arrow right at you beware!
It seems that he is about to rush into the darkness in which you are sitting, and turn you into a torn bag of skin, full of crumpled meat and crushed bones, and destroy, turn this hall and this building into rubble and dust, where there is so much wine, women, music and vice.
- Maxim Gorky[2]
The era of silent cinema[edit / edit wiki text]
Main article: Silent Movies
Charlie Chaplin
The first short films with a length of 50 feet (about 15 meters or 1.5 minutes of demonstration) were mostly documentaries, but already in the comedy dramatization of the Lumiere brothers, The Watered Watcher, the trends of the birth of feature films are reflected[3].
The short length of the first films was due to the technical imperfection of the film equipment, however, by the 1900s, the length of the films increased to 200-300 meters (15-20 minutes of demonstration).
The improvement of shooting and projection techniques contributed to a further increase in the length of films, a qualitative and quantitative increase in the artistic techniques of shooting, acting and directing.
And the wide distribution and popularity of cinema ensured its economic profitability, which, however, could not but affect the artistic value of the films being shot.
During this period, with the complication and lengthening of the plot of films, the genres of cinema begin to form, their artistic originality is formed, a set of visual techniques specific to each genre is created.
The "silent" cinema reaches its highest heyday by the 20s of the XX century, when it is already fully formed as an independent kind of art that has its own artistic means.
The appearance of sound[edit / edit wiki text]
Even before the beginning of the XX century, Thomas Edison tried to synchronize the "kinetoscope" with a phonograph, but failed.
However, later William Dixon, Edison's co author, claimed that he had already managed to create a kinetophonograph in 1889 — a device that reproduced sound and image simultaneously.
However, there is no evidence to support his words.
In the early period of cinema, sound cinema was tried to be created in many countries, but they faced two main problems: the difficulty in synchronizing the image and sound and the insufficient volume of the latter.
The first problem was solved by recording both sound and image on the same medium, but to solve the second problem, the invention of a low frequency amplifier was required, which happened only in 1912, when the film language developed so much that the absence of sound was no longer perceived as a serious drawback.
As a result, a patent for the sound cinema system, which subsequently made the sound revolution, was obtained in 1919, but film companies did not pay any attention to the possibility of cinema to speak, wanting to avoid increasing the cost of production and rental of films and the loss of foreign language markets.
Nevertheless, on September 17, 1922, a sound film was shown in Berlin for the first time in the world[4].
In 1925, Warner Brothers, which was on the verge of bankruptcy at that time, invested in a risky sound project.
Already in 1926, Warner Brothers released several sound films consisting mainly of musical numbers, but they did not have much success with the audience.
Success came only with the film "The Jazz Singer", in which, in addition to Al Jolson's musical numbers, his short lines were also present.
October 6, 1927 — the day of the premiere of "The Jazz Singer" - is considered to be the birthday of sound cinema.
The appearance of color[edit / edit wiki text]
Play a media file
Stills from the film Annabelle Serpentine Dance (1894-1896)
Main article: Color cinema
The first surviving color film was the short film "The Dance of Loi Fuller" (English: Annabelle Serpentine Dance).
It was shot in black and white in 1894, and in 1895 or 1896 it was painted by hand (each frame was painted with a brush).
The first commercially successful color film "Journey to the Moon", created by Georges Méliès in 1902, was also hand colored.
In 1899, photographer Edward Raymond Turner patented the process of shooting color films.
According to Turner's technology, each frame was shot through one of three special filters of red, green and blue colors.
In 2012, employees of the National Museum of Media and Technology in Bradford found a color film recording of Edward Turner, dated 1902[5][6][7].
Previously, the oldest color film was considered to be from 1909, created using Kinemacolor technology.
The British technology "Kinemacolor" (English Kinemacolor), invented in 1906 du, was the world's first color cinema system, which was a commercial success.
However, compared to films painted by hand, it had a disadvantage: all the colors were created by mixing not three, but only two main colors: red orange and blue green[8].
In this system, in 1908, "A Visit to the Sea" was filmed (Eng.
A Visit to the Seaside) — the first color film shown in cinemas, in 1910 — the first color game film "The Chess Player" (English Checkmated), in 1911 the first color full length documentary "A Solemn reception in Delhi" (English With Our King and Queen Through India).
The first full length feature color films shown in cinemas were " The World, the Flesh and the Devil "(1914) and" Little Lord Fauntleroy "(1914), shot using the Kinemacolor technology," The Gulf Between "(1917), made using the Technicolor technology, and" Cupid Angling "(1918), created using the Douglass Natural Color process technology.
A shot from the first Hollywood color film "Victims of the Sea" (1922)
The first Hollywood two color film made using the "bipak" technology was released in 1922, it did not impress the audience.
However, subsequent color Hollywood films, such as" The Wanderer of the Void " (1924), received a huge box office success.
Following the frenzied popularity of color films in Europe, and then in the United States, there came a period of cooling interest in color films.
Color films were more expensive.
The image on them was less clear.
Combinations of two colors could not represent all the colors in nature (three colors were required).
There were also three color systems, but the image was even worse in them, since they used three lenses, and the parallax between them led to the formation of a color border for objects.
The directors of" serious " films avoided color cinema, and all the masterpieces of that time were black and white.
The audience perceived color films as an attraction.
The situation was corrected after the invention of a three color single chamber version of the Technicolor technology.
This technique was first used by Walt Disney in the cartoon "Flowers and Trees" in 1932.
The first" full color "game short film of the "Technicolor" system called "La Cucaracha" was released in 1934.
The first full length color film "Becky Sharp" by the American director of Armenian origin Ruben Mamulyan was released in 1935, this year is considered to be the year of the appearance of color cinema.
The emergence of color cinema in Russia[edit / edit wiki text]
The first hand painted black and white picture in Russia was the short film "Uhar Merchant" (1909).
In 1925, the flag was painted in the full length film "Battleship Potemkin".
The first in Russia (and throughout the USSR) color documentary short film "Labor Day" was shot using the "Spectrocolor" technology, similar to" Kinemacolor", in 1931[9].
In the USSR, the first game color turn film "Grunya Kornakova "was shot using the" bipak "system, similar to" Sinekolor " in 1936.
At the end of the 30s, the first cinema cameras of the three color single camera system "CKS 1"were manufactured in the USSR.
The first full length film on this technology ("Ivan Nikulin a Russian sailor") was released only in 1944 due to the war.
The first color film shot on AGFA multi layer color film was a film about the Victory Parade in 1945.
A peculiar development in color has recently been received by already well known Soviet films shot in black and white ("Only old men go into battle", "17 moments of spring", etc.).
With the help of computer technology, they were painted.
The audience met the innovation ambiguously, since the versions of films in color do not have significant advantages over the originals.
On the contrary, in modern films about the Second World War, color is often deliberately muted.
Further technical progress in cinema[edit / edit wiki text]
In the 1950s, technological progress went even further.
The development and introduction of magnetic recording and sound reproduction, as well as the creation and development of new types of cinema (panoramic, stereoscopic, multi screen, etc.) led to a significant improvement in the quality of film screenings, they began to talk about the "presence effect" of the viewer.
The impression was enhanced by stereo sound reproduction, which allowed creating a "spatial sound perspective" — the sound seems to follow the image of its source, causing the illusion of the reality of the sound source.
To create a stereoscopic image, it is necessary to make a movie from two points that simulate the two eyes of the observer.
On the cinema screen, both images are projected together, and are separated by means of glasses containing color light filters or polarizers in two perpendicular planes of polarization.
At the same time, there are very sophisticated film sound systems.
The number of individual audio channels reaches up to 7, and in promising systems even up to 24.
Of course, all this is designed to enhance the depth of the viewer's immersion in the atmosphere of the film being viewed.
Types of cinema[edit / edit wiki text]
Feature and documentary films[edit / edit wiki text]
It is customary to divide the works of cinema into artistic (game) and documentary (non fiction) films.
The first shows the events played by the actors, and the second filmed in real life.
However, this division is often criticized due to the fact that there are documentaries in which real events are reconstructed by actors.
Due to the fact that actors have become a frequent phenomenon in films that are recognized as documentaries, documentary films often distinguish completely non fiction films and films with game elements, but reconstructing real events.
At the same time, it is necessary to distinguish documentary films from historical feature films.
Short films[edit / edit wiki text]
Main article: Short films
At first glance, a short film differs from a full length one only by the short duration of the film (mainly 15-20 minutes).
But it seems so only at first glance, because in the narrow time frame of a short film, you need to accommodate the entire spectrum of audience experiences that exists in a full length movie.
Therefore, short films are, from an artistic point of view, a completely separate type of cinema art and a separate type of cinematic creativity.
It is also called a "film miniature".
Documentary films[edit / edit wiki text]
Main article: Documentary films
A completely separate phenomenon of cinema art is documentary (non fiction) cinema.
A documentary is a film based on the filming of authentic events and persons.
Reconstructions of authentic events do not belong to documentary films.
The first documentary films were made at the very beginning of cinema.
Currently, documentary films have become firmly established in the cinema art of the whole world and are often broadcast on television.
The topic for documentaries is most often interesting events, cultural phenomena, scientific facts and hypotheses, as well as famous people and communities.
Masters of this type of film creation often rose to serious philosophical generalizations in their works.
Educational films[edit / edit wiki text]
Another category of films that are classified as documentaries is educational (educational) films.
Films intended for showing in schools and other educational institutions.
Studies show that the educational material presented in the form of a film is absorbed much better than the same material retold by the teacher.
The point here, apparently, is in the clarity and polish of the presentation of the material (it is not surprising, because many takes are possible in the cinema).
The practice of showing educational films is very common in the West and especially in the United States.
In the schools of the USSR, educational films (made specifically for schools, taking into account the uniform curriculum for all) were used for teaching, mainly in physics, biology and literature.
In addition, there were several programs on Soviet television in the late 1960s and early 1970s that showed educational films in accordance with the school curriculum (in chronological accordance, according to the plan of the current academic year), and in Moscow and some other cities there was a special ("fourth") TV channel almost entirely devoted to educational programs.
In connection with this practice, some classrooms in schools were equipped with TV receivers.
In Russia, the screening of educational films is not common, although it is known that some departments in universities create their own educational films.
Technical features[edit / edit wiki text]
Screen aspect ratio[edit / edit wiki text]
The ratio of the width and height of the frame (English aspect ratio) is the most important concept in cinema.
In silent cinema, the ratio of the horizontal to the vertical side of the frame was approximately 4:3 (4 units in width to 3 units in height; sometimes it is also written as 1.33:1 or just 1.33) - formed back in the days of Edison and the Lumiers for quite random reasons, although close to the most common canvas format in painting.
The same attitude was adopted by television.
With the advent of sound cinema, the so called "academic" format was legalized with a frame aspect ratio of 1.375:1, most often shortened to 1.37:1[10].
With the development and spread of television, cinema began to actively turn to the wide screen, in which two main formats gradually became established: 2.35:1 (that is, about 7:3) and 2.2:1.
There are experimental films with a different ratio (for example, circular cinema systems with a 360°horizontal view).
However, widescreen cinema could in no way claim to be universally used, since it is suitable for large scale epic compositions, and in rare cases for chamber psychological cinema (not only for general aesthetic reasons, but because of the elementary circumstance that in an isolated close up of a human face during widescreen shooting, about two thirds of the frame remain unfilled).
At the same time, the classical ratio of 1.37:1 is not always advantageous, and as soon as the question of changing the entire technology of the film process arose, the cinema began to gravitate towards an aspect ratio close to the golden ratio (this is approximately 1.62:1).
As a result, the 5:3 (1.66:1) format appeared, which Western European cinema quickly switched to; in the United States, the format intermediate between European and wide — 1.85:1 began to dominate[11].
Cinematic systems[edit / edit wiki text]
The aspect ratio of the image obtained on the screen and other technical characteristics of the movie depend on the format in which it is made.
There are a huge number of different cinema systems, classified primarily by the width of the film used and the aspect ratio of the image.
Main article: The format of cinema
"The effect of the 25th frame"[edit / edit wiki text]
A movie camera captures the phases of an object's movement on film in the form of a series of consecutive photographs (frames of a movie image).
These frames are then projected onto the screen.
The frame rate of old (silent) black and white films was 1000 frames per minute (16⅔ frames per second), since the illusion of objects moving on the screen occurs when the time between frames becomes less than the time of inertia of vision, which is approximately 0.1 s[12] (see the Cinematic principle).
With the advent of sound cinema, the number of frames per second was increased to 24, which became the standard for shooting for almost the entire XX century.
In modern cinemas, the minimum projection frequency is 48 flashes per second (this is 24 frames per second with a double flash of the obturator).
In the middle of the XX century, a myth was spread that a person's consciousness could allegedly perceive only 24 frames per second — and the 25th frame, if inserted into playback, would allegedly be perceived by a person on a subconscious level.
From this misconception, conclusions were drawn about the effectiveness of the "phenomenon of the 25th frame" in various types of suggestion and subconscious influence (for example, for political propaganda, commercial advertising, when teaching foreign languages, drug addiction treatment, etc.).
All fictions about the influence of the 25th frame on a person's subconscious have no relation to reality.
Digital cinema[edit / edit wiki text]
At the beginning of the XXI century, with the development of digital image recording technologies, the concept of "digital cinema" appeared.
This term is understood as a new technology of film production, which allows you to do without the use of film.
In digital cinema, the shooting, processing, editing and demonstration of the film take place with the help of digital equipment.
The source material is recorded using a digital movie camera directly on a digital data carrier.
In this case, the usual movie projector is replaced by a digital one.
Some copies of the film are printed on film using a film recorder.
At the same time, a high quality dublnegative (English internegative) is produced for the subsequent printing of film film copies.
Modern digital cameras provide very high image resolution, good color reproduction and the widest range of manipulations with the color gamut of the image, which was not available until recently.
Digital technologies also provide great opportunities for the use of videography and special effects in movies.
However, until now, film, especially in large formats, surpasses the resolution of most digital movie cameras.
A few years earlier, a technology that provides for scanning the negative image and subsequent digital processing of the received data, Digital Intermediate, became widespread before completely filmless technologies.
This technology has more flexibility than film and allows you to do without many intermediate stages of film production.
Artistic features[edit / edit wiki text]
Main article: Cinema Art
This section of the article has not yet been written.
According to the idea of one of the Wikipedia participants, a special section should be located in this place.
You can help the project by writing this section.
Film schools[edit / edit wiki text]
Independent American cinema[edit / edit wiki text]
Main article: Independent American cinema
Prominent representatives of modern independent American cinema are Quentin Tarantino, Jim Jarmusch, David Lynch, Joel and Ethan Cohen.
English cinema[edit / edit wiki text]
Main article: UK Cinema
Among the representatives of English cinema are directors Christopher Nolan, Alfred Hitchcock, Michael Powell and Emeric Pressburger, Tony Richardson, Lindsay Anderson, Ken Loach, Derek Jarman, Peter Greenway.
Both Greenway and Jarman pay a lot of attention to a peculiar visual solution in the films.
Greenway is better known for paying much attention to the aesthetics of each frame, filling his films with allusions to classic paintings and preoccupied with the problems of the dead and the living, chaotic and orderly.
French cinema[edit / edit wiki text]
Main article: French Cinema
French cinema is one of the most respected in the world, and is second only to Hollywood in popularity.
The modern image of French cinema was formed after the Second World War.
The so called "new wave" in French cinema has had a strong impact on the development of cinema around the world.
Among the famous directors are Jean Renoir, Marcel Carnet, Jean Luc Godard, Francois Truffaut, Bertrand Blier, Luc Besson, Jean Pierre Jeunet, Francois Ozon.
The French Government actively promotes the development and export of national cinema.
Italian cinema[edit / edit wiki text]
Main article: Italian cinema
Italian cinema has always been original and unique.
Although there are also Italian films designed for "mass consumption", Italian cinema is still known to the wide world cinema community thanks to the high "author's" cinema of such directors as Roberto Rossellini, Federico Fellini, Michelangelo Antonioni, Luchino Visconti, Pier Paolo Pasolini, Bernardo Bertolucci.
The films of these directors, created in different styles, sometimes full of abstractions, metaphors, mysticism, have forever entered the golden fund of world cinema and have become a source of inspiration for new generations of directors.
German cinema[edit / edit wiki text]
Main article: German Cinema
In the 1960s and 1970s, a trend emerged in Germany that positioned itself as the" New German Cinema " (German: Neuer Deutscher Film).
Its most prominent representatives were such now classic directors as Wim Wenders, Volker Schlendorf, Werner Herzog, Rainer Werner Fassbinder.
These directors pursued the goal of moving away from entertaining cinema in favor of an acute social, thought provoking cinema.
The films of these directors were shot with the money of independent studios, so such a movie also became known as "author's".
A significant influence on the New German cinema was exerted by the French "new wave" (French Nouvelle Vague) and the protest movement of 1968.
The most prolific figure of the "New German Cinema" was Rainer Werner Fassbinder.
The director shot several films a year and desperately burned his life (he died at the age of 37 from a cocaine overdose).
This gave his films an external carelessness, unevenness, but also filled them with some unusual vitality, a tragic "drive" and made many scenes strikingly memorable.
Among the still working German classics, Wim Wenders is world famous.
New cinematic schools[edit / edit wiki text]
The new cinematic schools include countries in which cinema did not exist or was not developed until recently.
Experts often find these "rediscovered" cinematographies very interesting and original.
Replacing each other, the cinematic schools of these countries are becoming fashionable among moviegoers.
Basically, these schools are perceived as exotic, and develop as exotic, often trying to attract the viewer with shocking scenes and fundamentally new approaches to shooting, rather than new trends in the studied areas of cinema.
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The information must be verifiable, otherwise it may be questioned and deleted.
You can edit this article by adding links to authoritative sources.
This mark was set on October 20, 2013.
Professions of cinema[edit / edit wiki text]
Main article: Cinema professions
This section of the article has not yet been written.
According to the idea of one of the Wikipedia participants, a special section should be located in this place.
You can help the project by writing this section.
Film festivals and film awards[edit / edit wiki text]
Main article: Film Festival
Since the appearance of the cinema itself, the question has arisen about the qualitative assessment of films and the work of individual members of the film crew.
One of the objective indicators of the success of a movie is the box office from the rental.
When the audience votes by buying tickets — this is an absolute assessment of the quality of the film.
But it would be a mistake to consider this indicator the only true one.
After all, all films are initially in different conditions: some are widely advertised and announced, for others there are not even high quality posters; some films shine with the names of stars from the poster — others are made by novice filmmakers who cannot afford to invite stars.
There are still a number of psychological factors that affect the financial performance of the film.
In addition, the rental conditions in all countries are different, so it can be difficult to compare the collection of a film in different countries.
National and cultural characteristics can also influence the popularity of the film.
And besides, the rental fee can only assess the success of the film as a whole, but not the contribution of individual members of the film crew.
To solve these problems of film evaluation, many film festivals are regularly held in the world, many film awards are played out.
Film festivals are designed to demonstrate modern trends in cinema, choose the best films of the year, evaluate the work of members of the film crews.
Film awards, unlike film festivals, are not accompanied by public screenings of the nominees ' films, but their tasks are the same.
Of course, no film festival can claim to be objective in its assessments, the assessments of films at film festivals are purely subjective.
But there are a lot of festivals, and each festival develops its own special reputation over time, there are areas of cinema art that are particularly encouraged (or not encouraged) by this film festival.
There are also genre film festivals.
Thus, a film lover who has his own genre or stylistic preferences always has the opportunity to find "his" film festival — and according to its results, navigate the films of the current year.
Cinematic databases[edit / edit wiki text]
KinoPoisk.
<url> IMDb Movie Tome All Movie Guide Internet Adult Film Database Internet Broadway Database Internet Movie Cars Database Rotten Tomatoes Metacritic
IMDb[edit / edit wiki text]
Main article: IMDb
A huge contribution to the ordering of information about cinema was made by the Internet Movie Database (IMDb) — the largest database and website about cinema on the planet.
Now it is one of the rare examples of successful cooperation between big business and altruistic film fans.
Some sections of the database are still largely filled with volunteers, this is similar to the concept of a wiki.
IMDb has been selected as the basic source of information for Wikipedia's cinematic resources.
See also[edit / edit wiki text]
Animation
Notes[edit / edit wiki text]
Основы Fundamentals of film technology, 1965, p. 375 ↑ The film Arrival of the train at La Ciotat station is mentioned in an article by Maxim Gorky (published under the pseudonym " M. Pacatus"), dedicated to the first film screenings organized by Charles Omon at the Nizhny Novgorod Fair — "Nizhny Novgorod Leaf", 1896, July 4 (16), No. 182, p .
31 .
Всеобщ Universal history of Cinema.
Volume 1, 1958 ↑ Sound film screening in Berlin (unavailable link from 23-05-2013 (951 days) - history, copy) ↑ BBC World's first colour moving pictures discovered ↑ The Guardian — Color film of 1901, judged world's earliest ever, found at media museum ↑ National Media Museum — World's First Moving Color Pictures ↑ Dmitry Masurenkov Film cameras for color shooting (Rus.)
/ / "Technique and technologies of cinema": magazine.
— 2007.
— № 5.
Александр Alexander Deryabin Early domestic color films (Rus.)
/ / "Kinovedcheskie zapiski": journal.
— 2002.
— № 56.
↑ Leonid Konovalov.
Frame Formats (Russian).
Film and Photo processes.
Leonid Konovalov (November 18, 2011).
Verified on September 26, 2012.
Archived from the original source on October 16, 2012.
Ко Konoplev, 1975, p. 30 ↑ Karpov G. V., Romanin V. A. "Technical means of training", Moscow: Prosveshchenie, 1979, p. 121—122.
Literature[edit / edit wiki text]
Georges Sadoul.
Universal history of cinema / V. A. Ryazanova.
- M.,: "Art", 1958.
- Vol. 1 — - 611 p.
The history of foreign cinema: in 3 volumes , 1965-1981.
Cinema: An encyclopedic dictionary.
M.: Soviet Encyclopedia, 1987 Parkinson, D. Kino.
M., 1996.
Konoplev, B. N. Chapter II.
Classification of films / / Fundamentals of film production.
- 2nd ed.
- Moscow: Iskusstvo, 1975.
- p. 30 — - 448 p. Goldovsky, E. M. Fundamentals of film technology / L. O. Eisymont.
- Moscow: Iskusstvo, 1965 — - 636 p.
The Great Cinema: A catalog of preserved feature films of Russia (1908-1919) / comp.: V. Ivanova, V. Mylnikova, S. Skovorodnikova, Yu.
Tsivyan, R. Yangirov.
- M.: New Literary Review, 2002.
- 568 p.
— ISBN 5-86793-155-2.
Mussky, I. A. 100 great Russian films.
- Moscow: Veche, 2005 — - 480 p.
— ISBN 5-9533-0863-9.
Mussky, I. A. 100 great foreign films.
- Moscow: Veche, 2008 — - 48 0 p .
— ISBN 978-5-9533-2750-3.
Kudryavtsev, S. V. 3500.
The book of film reviews: In 2 x tt..
- St. Petersburg: Print Yard, 2008 — - ISBN 978-5-9901318-3-5.
Lursell, J. Author's encyclopedia of films = Dictionnaire du cinema: Les films.
- Moscow: Rosebud Publishing, 2009.
— ISBN 978-5-904175-02-3.
Yangirov, R. M. "Slaves of the Silent": Essays on the historical life of Russian cinematographers abroad.
1920s 1930s.
- Moscow: Russian way, 2008.
- 496 p — - 3000 copies.
— ISBN 978-5-98854-005-2.
Yangirov, R. M. Chronicle of the cinematic life of the Russian abroad: in 2 vols .
- Vol. 1: 1918-1929.
- vol. 2: 1930-1980 / [preface, podgot. text by Z. M. Zevina; reference. the apparatus of Z. M. Zevina, T. P. Sukhman].
- Moscow: Knizhnitsa: Russian way, 2010 — - 544 + 640 p.
— ISBN 978-5-85887-385-3.
Yangirov, R. M.
Other cinema: Articles on the history of Russian cinema of the first third of the twentieth century / comp.
and the author 's preface by A. I. Reitblat.
- M.: New Literary Review, 2011 — - 416 p — - (Film texts).
— ISBN 978-5-86793-858-1.
Links[edit / edit wiki text]
Portal "Cinema" Cinema in Wiktionary?
Cinema in Wikicitatnik?
Cinema on Wikimedia Commons?
The movie is in the Open Directory Project (dmoz) link directory.
Cinema, history article from the encyclopedia Circumnavigation Internet archive of the magazine "The Art of Cinema" Internet archive of the magazine "Kinovedcheskie zapiski" Internet archive of the magazine "Session" The magazine Sight & Sound of the British Film Institute (eng.)
Source — "https://ru.wikipedia.org/w/index.php?title=Cinema&oldid=75416631"
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