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Film
German inventor and film tycoon Oskar Messter was an important figure in the early years of cinema. His firm Messter Film was one of the dominant German producers before the rise of UFA, with which it merged eventually. Messter first added a Geneva drive on the projectors to oscillatingly cause intermittent movement to advance the frames of the film and he set up the first film studio in Germany in 1900.
Fidelity in the reproduction of details is much less important than the appeal made by the story to an emotional response, an appeal based on innate characteristics of the motion-picture medium. These essential characteristics can be divided into those that pertain primarily to the motion-picture image, those that pertain to motion pictures as a unique medium for works of art, and those that derive from the experience of viewing motion pictures.
Any film may also have a sequel, which portrays events following those in the film. Bride of Frankenstein is an early example. When there are more films than one with the same characters, story arcs, or subject themes, these movies become a series, such as the James Bond series. Existing outside a specific story timeline usually does not exclude a film from being part of a series. A film that portrays events occurring earlier in a timeline with those in another film, but is released after that film, is sometimes called a prequel, an example being Butch and Sundance: The Early Days.
In US usage, one talks of a screening or projection of a movie or video on a screen at a public or private theater. In British English, a film showing happens at a cinema (never a theatre, which is a different medium and place altogether). Cinema usually refers to an arena designed specifically to exhibit films, where the screen is affixed to a wall, while theatre usually refers to a place where live, non-recorded action or combination thereof occurs from a podium or other type of stage, including the amphitheatre. Theatres can still screen movies in them, though the theatre would be retrofitted to do so. One might propose going to the cinema when referring to the activity, or sometimes to the pictures in British English, whereas the US expression is usually going to the movies. A cinema usually shows a mass-marketed movie using a front-projection screen process with either a film projector or, more recently, with a digital projector. But, cinemas may also show theatrical movies from their home video transfers that include Blu-ray Disc, DVD, and videocassette when they possess sufficient projection quality or based upon need, such as movies that exist only in their transferred state, which may be due to the loss or deterioration of the film master and prints from which the movie originally existed. Due to the advent of digital film production and distribution, physical film might be absent entirely.
Before the advent of digital alternatives, the cost of professional film equipment and stock was also a hurdle to being able to produce, direct, or star in a traditional studio film. But the advent of consumer camcorders in 1985, and more importantly, the arrival of high-resolution digital video in the early 1990s, have lowered the technology barrier to film production significantly. Both production and post-production costs have been significantly lowered; in the 2000s, the hardware and software for post-production can be installed in a commodity-based personal computer. Technologies such as DVDs, FireWire connections and a wide variety of professional and consumer-grade video editing software make film-making relatively affordable.
During the 1960s, Ousmane Sembène produced several French- and Wolof-language films and became the “father” of African Cinema. In Latin America, the dominance of the “Hollywood” model was challenged by many film makers. Fernando Solanas and Octavio Getino called for a politically engaged Third Cinema in contrast to Hollywood and the European auteur cinema.
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