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STUDIES

UNIT 1

Indian cinema

Following the screening of the Lumière moving pictures in (1895) cinema became a sensation across and by July 1896 the Lumière had been in show in (now ).] The first short films in were directed by Hiralal , starting with The Flower of Persia (1898)[22]

The first Indian movie released in India was Shree pundalik a in Marathi by Dadasaheb Torne on 18 May 1912 at 'Coronation Cinematograph', Mumbai.[23] [24] Torne is also considered as a Father of Indian Cinema.[25]

The first full-length motion picture in India was produced by , Dadasaheb is the pioneer of Indian a scholar on India's languages and culture, who brought together elements from epics to produce his Raja ( The full-length motion picture). (1913), a silent film in Marathi. The female roles in the film were played by male actors. [26] The first Indian chain of cinema theaters was owned by the Calcutta entrepreneur Jamshedji Framji Madan, who oversaw production of 10 films annually and distributed them throughout the Indian subcontinent.[26]

Raghupathi Venkaiah Naidu was an Indian artist and a pioneer in the production of silent Indian movies and talkies. Starting from 1909, he was involved in many aspects of Indian cinema's history, like travelling to different regions in , to promote film work. He was the first to build and own cinema hall's in Madras. The Raghupathi Venkaiah Naidu Award is an annual award incorporated into to recognize people for their contributions to the Telugu film industry.[27][28]

During the early twentieth century cinema as a medium gained popularity across India's population and its many economic sections.[21] Tickets were made affordable to the common man at a low price and for the financially capable additional comforts meant additional admission ticket price.[21]Audiences thronged to cinema halls as this affordable medium of entertainment was available for as low as an anna (4 paisa) in Bombay.[21] The content of Indian commercial cinema was increasingly tailored to appeal to these masses.[21] Young Indian producers began to incorporate elements of India's social life and culture into cinema.[29] Others brought with them ideas from across the world.[29] This was also the time when global audiences and markets became aware of India's film industry.[29]

In 1927, the British Government, in order to promote the market in India for British films over American ones, formed the Indian Cinematograph Enquiry Committee. The ICC consisted of three British and three Indians, led by T. Rangachari, a Madras lawyer.[30] This committee failed to support the desired recommendations of supporting British Film, instead recommending support for the fledgling Indian film industry. Their suggestions were shelved.

Ardeshir Irani released which was the first Indian talking film, on 14 March 1931. [26] H.M. , produced and directed Bhakta Prahlada (Telugu), released on 15 September 1931 and Kalidas (Tamil)[31]released on 31 October 1931. Kalidas was produced by and directed by H.M. Reddy. These two films are 's first talkie films to have a theatrical release.[32] Following the inception of 'talkies' in India some film stars were highly sought after and earned comfortable incomes through acting.[26] As sound technology advanced the 1930s saw the rise of music in Indian cinema with musicals such as Indra Sabhaand Devi Devyani marking the beginning of song-and-'s films.[26] Studios emerged across major cities such as , , and Mumbai as film making became an established craft by 1935, exemplified by the success of , which had managed to enthrall audiences nationwide.[33] came up in 1934 and Prabhat Studios in had begun production of films meant for the audience.[33] Filmmaker R. S. D. Choudhury produced Wrath (1930), banned by the in India as it depicted actors as Indian leaders, an expression censored during the days of the Indian independence movement.[26]

The Indian —a slang used for commercial films with song, dance, romance etc.— came up following the second world war.[33] South Indian cinema gained prominence throughout India with the release of S.S. Vasan's Chandralekha.[33] During the 1940s cinema in South India accounted for nearly half of India's cinema halls and cinema came to be viewed as an instrument of cultural revival.[33] The following its independence divided the nation's assets and a number of studios went to the newly formed .[33] The strife of partition would become an enduring subject for film making during the decades that followed.[33]

After Indian independence the was inquired by the S.. Patil Commission. [34] S.K. Patil, head of the commission, viewed cinema in India as a 'combination of art, industry, and showmanship' while noting its commercial value.[34] Patil further recommended setting up of a Film Finance Corporation under the Ministry of Finance.[35] This advice was later taken up in 1960 and the institution came into being to provide financial support to talented filmmakers throughout India.[35] The Indian government had established a Films Division by 1948 which eventually became one of the largest producers in the world with an annual production of over 200 short documentaries, each released in 18 languages with 9000 prints for permanent film theaters across the country.[36]

The 's Theatre Association (IPTA), an art movement with a communist inclination, began to take shape through the 1940s and the 1950s.[34] A number of realistic IPTA plays, such as 's in 1944 (based on the tragedy of the ), prepared the ground for the solidification of in Indian cinema, exemplified by 's Dharti Ke (Children of the Earth) in 1946.[34] The IPTA movement continued to emphasize on reality and went on to produce and , among India's most recognizable cinematic productions.

Golden Age of Indian cinema

Following India's independence, the period from the late 1940s to the 1960s are regarded by film historians as the 'Golden Age' of Indian cinema.[38][39][40] Some of the most critically acclaimed Indian films of all time were produced during this period. This period saw the emergence of a new movement, mainly led by Bengali cinema.[41] Early examples of films in this movement include Chetan 's (1946),[42] Ghatak's (1952),[43] [44] and 's Do Bigha Zameen (1953), laying the foundations for Indian [45] and the "Indian New Wave".[46] (1955), the first part of (1955–1959) by , marked his entry in Indian cinema.[47] The Apu Trilogy won major prizes at all the major international film festivals and led to the 'Parallel Cinema' movement being firmly established in Indian cinema. Its influence on can also be felt in the "youthful coming-of-age that have flooded art houses since the mid- fifties" which "owe a tremendous debt to the Apu trilogy" The cinematographer , who made his debut with Satyajit Ray's The Apu Trilogy, also had an important influence on across the world. One of his most important techniques was bounce lighting, to recreate the effect of daylight on sets. He pioneered the technique while filming (1956), the second part of The Apu Trilogy.[49] Some of the experimental techniques which Satyajit Ray pioneered include photo-negative flashbacksand X- ray digressions while filming (1972).[50] Ray's 1967 script for a film to be called The Alien, which was eventually cancelled, is also widely believed to have been the inspiration forSteven Spielberg's E.T. (1982).[51][52][53] Satyajit Ray and went on to direct many more critically acclaimed 'art films', and they were followed by other acclaimed Indian independent filmmakers such as , Gopalakrishnan, and .[41] During the 1960s, 's intervention during her reign as the Information and Broadcasting Minister of India further led to production of off-beat cinematic expression being supported by the official Film Finance Corporation.[35]

Commercial cinema also began thriving, with examples of acclaimed films at the time include the films Pyaasa (1957) and (1959) and the filmsAwaara (1951) and (1955). These films expressed social themes mainly dealing with working-class urban life in India; presented the city as both a nightmare and a dream, whilePyaasa critiqued the unreality of city life.[41] Some epic films were also produced at the time, including 's Mother India (1957), which was nominated for the Academy Award for Best Foreign Language Film,[54] and K. Asif's Mughal-e-Azam (1960). [55] V. Shantaram's (1957) is believed to have inspired the film The Dirty Dozen (1967). [56] (1958), directed by Bimal Roy and written by Ritwik Ghatak, popularized the theme of in popular culture. [57] Other mainstream Hindi filmmakers at the time included Amrohi and Bhatt.

Ever since 's social realist film Neecha Nagar won the Grand Prize at the first Cannes ,[42] Indian films were frequently in competition for the Palme d'Or at the for nearly every year in the 1950s and early 1960s, with a number of them winning major prizes at the festival. Satyajit Ray also won the at the Film Festival forAparajito (1956), the second part of The Apu Trilogy, and the and two Silver Bears for Best Director at the International Film Festival.[58] Ray's contemporaries, Ritwik Ghatak and Guru Dutt, were overlooked in their own lifetimes but had belatedly generated international recognition much later in the 1980s and 1990s.[58][59] Ray is regarded as one of the greatest auteursof 20th century cinema,[60] with Dutt[61] and Ghatak.[62] In 1992, the Sight & Sound Critics' Poll ranked Ray at #7 in its list of "Top 10 Directors" of all time, [63] while Dutt was ranked #73 in the 2002 Sight & Sound greatest directors poll.[61] A number of Indian films from different regions, from this era are often included among the greatest films of all time in various critics' and directors' polls. At this juncture, and experienced their respective golden age and during this time the production of Indian Folklore, fantasy and Mythological films like and Narthanasala grew up. A number of Satyajit Ray films appeared in the Sight & Sound Critics' Poll, including The Apu Trilogy (ranked #4 in 1992 if votes are combined),[64] The Music Room (ranked #27 in 1992), (ranked #41 in 1992)[65] and Days and Nights in the Forest (ranked #81 in 1982).[66] The 2002 Sight & Sound critics' and directors' poll also included the Guru Dutt films Pyaasa and Kaagaz Ke Phool(both tied at #160), the Ritwik Ghatak films Meghe (ranked #231) and (ranked #346), and Raj Kapoor's Awaara, 's Baiju Bawra, Mehboob Khan's Mother India and K. Asif's Mughal-e-Azam all tied at #346. [67] In 1998, the critics' poll conducted by the Asian film magazine Cinemaya included The Apu Trilogy (ranked #1 if votes are combined), Ray'sCharulata and The Music Room (both tied at #11), and Ghatak's Subarnarekha (also tied at #11).[62] In 1999, The Village Voice top 250 "Best Film of the Century" critics' poll also included The Apu Trilogy (ranked #5 if votes are combined). [68] In 2005, The Apu Trilogy and Pyaasa were also featured in Time magazine's "All-TIME" 100 best movies list.[69] Modern Indian cinema

Some filmmakers such as Benegal continued to produce realistic Parallel Cinema throughout the 1970s,[70] alongside Satyajit Ray, Ritwik Ghatak, Mrinal Sen, Buddhadeb Dasgupta andGautam Ghose in Bengali cinema; , Shaji N. Karun, and G. Aravindan in cinema; Nirad Mohapatra in Oriya cinema; and Mani Kaul, , , and in Hindi cinema. [41] However, the '' bent of the Film Finance Corporation came under criticism during a Committee on Public Undertakings investigation in 1976, which accused the body of not doing enough to encourage commercial cinema.[71] The 1970s did, nevertheless, see the rise of commercial cinema in form of enduring films such as (1975), which solidified 's position as a lead actor.[71] The devotional classic Jai Santoshi Ma was also released in 1975.[71] Another important film from 1975 was Deewar, directed by Chopra and written by Salim-Javed. A pitting "a policeman against his brother, a gang leader based on real-life smuggler ", portrayed by Amitabh Bachchan, it was described as being “absolutely key to Indian cinema” by .[72]

Long after the Golden Age of Indian cinema, South India's of regarded as one of the best Indian film experienced its own 'Golden Age' in the 1980s and early 1990s. Some of the most acclaimed Indian filmmakers at the time were from the Malayalam industry, including Adoor Gopalakrishnan, G. Aravindan, T. V. Chandran and Shaji N. Karun.[73] Adoor Gopalakrishnan, who is often considered to be Satyajit Ray's spiritual heir,[74] directed some of his most acclaimed films during this period, including (1981) which won theSutherland Trophy at the London Film Festival, as well as Mathilukal (1989) which won major prizes at the .[75]

Shaji N. Karun's debut film (1989) won the Camera d'Or at the 1989 Cannes Film Festival, while his second film (1994) was in competition for the Palme d'Or at the 1994 Cannes Film Festival.[76] Commercial Malayalam cinema also began gaining popularity with the action films of , a popular actor whose success was short-lived when he died while filming a dangerous stunt, followed by , whose film Yodha was acclaimed for its action sequences and technical aspects.

Commercial Hindi cinema further grew throughout the 1980s and the 1990s with the release of films such as (1981) Mr India (1987), (1988), (1988), Chandni (1989), (1989), Baazigar (1993), (1993),[71] Dilwale Dulhaniya Le Jayenge (1995) and (1998), many of which starred Shahrukh Khan, and .

Tabarana Kathe, a film, was screened at various film festivals including Tashkent, , Tokyo, and the Film Festival of Russia.[77]

In the late 1990s, 'Parallel Cinema' began experiencing a resurgence in Hindi cinema, largely due to the critical and commercial success of Satya (1998), a low-budget film based on the Mumbai underworld, directed by Gopal Varma and written by . The film's success led to the emergence of a distinct known as Mumbai noir,[78] urban films reflecting social problems in the city of Mumbai.[79] Later films belonging to the Mumbai noir genre include 's (2001) and Traffic Signal (2007), 's Company (2002) and its prequel D (2005), Anurag Kashyap's Black Friday (2004), Irfan Kamal's Thanks Maa (2009), and Deva Katta's Prasthanam (2010). Other art film directors active today include Mrinal Sen, Mir Shaani, Buddhadeb Dasgupta, Gautam Ghose, , and in Bengali cinema; Adoor Gopalakrishnan, Shaji N. Karun, and T. V. Chandran in Malayalam cinema; Nirad Mohapatra in Oriya cinema; Mani Kaul, Kumar Shahani, Ketan Mehta, Govind Nihalani, ,[41] Mira , Kukunoor, and in Hindi cinema; in Tamil cinema; and , Anant Balani, Homi Adajania, Vijay Singh and in cinema Tamil cinema Main article: Tamil cinema The film industry, also known as Kollywood, is among India's three largest film industries in terms of number of films produced annually. As of 2012, it is third after the Hindi and Telugu film-industries in terms of the number of films produced annually. However, it comes next to (Hindi film industry) in terms of revenue, production and worldwide distribution including worldwide box office.[161] [162][163][164] It is based at Kodambakkam in Chennai, . Tamil films are distributed to various parts of Asia, Southern , America,Europe and .[165] The industry has inspired Tamil in , , and Canada. Tamil cinema and Dravidian politics have heavily influenced each other.[166] With Chennai serving as a secondary hub for filmmaking for other industries and the establishment of the Madras Film Institute, Tamil cinema established itself as an influential and leading industry in South Indian cinema and further attained international exposure with the works of various filmmakers. In 1985, the Tamil film industry made its peak, with a net output was 236 films.[119] Tamil films stand next to Hindi films in terms of the number of films submitted by India in contest for the Academy Award for Best Foreign Language Film.[167] , considered to be one of the most versatile actors in India, has the distinction of being awarded the most number of Southern Awards and the only actor with the most number of . Music directors from the industry, such as and A. R. made a foray into other regional industries and have a reputation and following, while also being predominantly active in Tamil cinema. Some female Bollywood actress have their origin from Tamil, even though some of them not had their initial debut in Tamil cinema. It includes , Waheeda , , Ganesan, , Meenakshi Sheshadri and . Actress Vyjayanthimala, Hema Malini and Sridevi are also considered "Numero Uno actresses" of Hindi cinema.[168][169]

Genres and styles

[edit]Film music

Music in Indian cinema is a substantial revenue generator, with the music rights alone accounting for 4–5% of the net revenues generated by a film in India.[20] The major film music companies of India are , Sony Music etc.[20] Commercially, film music accounts for 48% India's net music sales.[20] A typical Indian film may have around 5-6 choreographed songs spread throughout the film's length.[181]

The demands of a multicultural, increasingly globalized Indian audience often led to a mixing of various local and international musical traditions.[181] Local dance and music nevertheless remain a time tested and recurring theme in India and have made their way outside of India's borders with its diaspora.[181] Playback singers such as drew large crowds with national and international film music stage shows.[181] The end of the 19th century and the beginning of the 21st saw extensive interaction between artists from India and the western world.[182] Artists from Indian diaspora blended the traditions of their heritage to those of their country to give rise to popular contemporary music.[182]

Awards

This section lists the most important film awards given for Indian cinema by national and state authorities.

Year of Award Awarded by Inception

Bengal Film Journalists' 1937 Government of Association Awards

Directorate of Film Festivals, Government National Film Awards 1954 of India

Maharashtra State Film Awards 1963 Government of

Nandi Awards 1964 Government of

Tamil Nadu State Film Awards 1967 State Film Awards 1967

Kerala State Film Awards 1969

Below are the major non-governmental awards.

Year of Award Awarded by Inception

Filmfare Awards 1954 Bennett, Coleman and Co. Ltd. South

Screen Awards 1994 Screen Weekly

Wizcraft International Entertainment IIFA Awards 2000 Pvt Ltd

South Indian International Movie 2012 South Indian Film Industry Awards

[edit]Film Institutes in India

Several institutes, both government run and private, provide formal education in various aspects of filmmaking. Some of the prominent ones include

. Film and Television Academy, [2]

. AJK Mass Communication Research Centre, , New

. Annapurna International School of Film and Media,

. Asian Academy of Film & Television

. City Pulse Institute of Film & Television, Gandhinagar,

. Film and Television Institute of India, Pune

. Indian Film and Television Institute(IFTI), Merrut

. KIIT School of Film and Media Sciences, . Madras Film Institute, Chennai

. Matrikas Film School

. Satyajit Ray Film and Television Institute, Kolkata

. Whistling Woods International

. Govt. Film and Television Institute,

. Film and Television Institute, Pune

. Biju Pattanaik Film and Television Institute,

. Centre for advanced media studies, Patiala FILM 4 CMMNCTN & SOCIAL CHANGE

As tool for social change

Social movement media has a rich and storied history (see Agitprop) that has changed at a rapid rate since New Media became widely used (Chris Atton).[16] The Zapatista Army of international Liberation of Chiapas, Mexico were the first major movement to make widely recognized and effective use of New Media for communiques and organizing in 1994.[17] Since then, New Media has been used extensively by social movements to educate, organize, share cultural products of movements, communicate, coalition build, and more. The WTO Ministerial Conference of 1999 protest activity was another landmark in the use of New Media as a tool for social change. The WTO protests used media to organize the original action, communicate with and educate participants, and was used as an alternative media source.[18] The Indymedia movement also developed out of this action, and has been a great tool in the democratization of information, which is another widely discussed aspect of new media movement.[19] Some scholars even view this democratization as an indication of the creation of a "radical, socio-technical paradigm to challenge the dominant, neoliberal and technologically determinist model of information and communication technologies."[20] A less radical view along these same lines is that people are taking advantage of the Internet to produce a grassroots globalization, one that is anti-neoliberal and centered on people rather than the flow of capital.[21] Of course, some are also skeptical of the role of New Media in Social Movements. Many scholars point out unequal access to new media as a hindrance to broad-based movements, sometimes even oppressing some within a movement.[22] Others are skeptical about how democratic or useful it really is for social movements, even for those with access.[23] There are also many New Media components that activists cite as tools for change that have not been widely discussed as such by academics.

New Media has also found a use with less radical social movements such as the Free Hugs Campaign. Using websites, blogs, and online videos to demonstrate the effectiveness of the movement itself. Along with this example the use of high volume blogs has allowed numerous views and practices to be more widespread and gain more public attention. Another example is the on-goingFree Tibet Campaign, which has been seen on numerous websites as well as having a slight tie-in with the band Gorillaz in their Gorillaz Bitez clip featuring the lead singer 2D sitting with protesters at a Free Tibet protest. Another social change seen coming from New Media is trends in fashion and the emergence of subcultures such as Text Speak, , and various others.

FILM PRODUCTN 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 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 artform, 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 or 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 "film" comes from the fact 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 andflick. 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 includethe big screen, the silver screen, the cinema and the movies. Production

Main article: Filmmaking At its core, the means to produce a film depend on the content the filmmaker wishes to show, and the apparatus for displaying it: the zoetrope merely requires a series of images on a strip of paper. Film production can therefore take as little as one person with a camera (or even without a camera, as in Stan Brakhage's 1963 film Mothlight), or thousands of actors, extras and crewmembers for a live-action, feature-length epic. The necessary steps for almost any film can be boiled down to conception, planning, execution, revision, and distribution. The more involved the production, the more significant each of the steps becomes. In a typical production cycle of a Hollywood-style film, these main stages are defined as:

1. Development

2. Pre-production

3. Production

4. Post-production

5. Distribution Technology Film stock consists of transparent celluloid, acetate, or polyester base coated with an emulsion containing light-sensitive chemicals. Cellulose nitrate was the first type of film base used to record motion pictures, but due to its flammability was eventually replaced by safer materials. Stock widths and the film format for images on the reel have had a rich history, though most large commercial films are still shot on (and distributed to theaters) as 35 mm prints. Originally moving picture film was shot and projected at various speeds using hand- cranked cameras and projectors; though 1000 frames per minute (16⅔ frame/s) is generally cited as a standard silent speed, research indicates most films were shot between 16 frame/s and 23 frame/s and projected from 18 frame/s on up (often reels included instructions on how fast each scene should be shown).[5] When was introduced in the late 1920s, a constant speed was required for the sound head. 24 frames per second was chosen because it was the slowest (and thus cheapest) speed which allowed for sufficient sound quality. Improvements since the late 19th century include the mechanization of cameras – allowing them to record at a consistent speed, quiet camera design – allowing sound recorded on-set to be usable without requiring large "blimps" to encase the camera, the invention of more sophisticated filmstocks and lenses, allowing directorsto film in increasingly dim conditions, and the development of synchronized sound, allowing sound to be recorded at exactly the same speed as its corresponding action. The can be recorded separately from shooting the film, but for live-action pictures many parts of the soundtrack are usually recorded simultaneously. As a medium, film is not limited to motion pictures, since the technology developed as the basis for photography. It can be used to present a progressive sequence of still images in the form of a slideshow. Film has also been incorporated into multimedia presentations, and often has importance as primary historical documentation. However, historic films have problems in terms of preservation and storage, and the motion picture industry is exploring many alternatives. Most movies on cellulose nitrate base have been copied onto modern safety films. Some studios save color films through the use of separation masters: three B&W negatives each exposed through red, green, or blue filters (essentially a reverse of the Technicolor process). Digital methods have also been used to restore films, although their continued obsolescence cycle makes them (as of 2006) a poor choice for long-term preservation. Film preservation of decaying film stock is a matter of concern to both film historians and archivists, and to companies interested in preserving their existing products in order to make them available to future generations (and thereby increase revenue). Preservation is generally a higher concern for nitrate and single-strip color films, due to their high decay rates; black-and-white films on safety bases and color films preserved on Technicolor imbibition prints tend to keep up much better, assuming proper handling and storage. Some films in recent decades have been recorded using analog video technology similar to that used in television production. Modern digital video cameras and digital projectors are gaining ground as well. These approaches are preferred by some moviemakers, especially because footage shot with can be evaluated and edited with non-linear editing systems (NLE) without waiting for the film stock to be processed. Yet the migration is gradual, and as of 2005 most major motion pictures are still shot on film. India's film industry: Bollywood rising :UTV Motion Pictures is using Hollywood methods to modernise Indian film

IN 1958 the film “Mother India” was nominated for an Oscar, and its director, Mehboob Khan, wanted to go to Los Angeles for the awards. India was short of foreign currency, and according to a book about Bollywood by , Mr Khan had to beg the government for money for the trip, writing, “I should be able to show that our government is also backing me. Otherwise, I will look small and lonely.” How things have changed. Now Hollywood is courting Indian film producers: Disney, Viacom, News Corporation and have all done deals with Bollywood companies in the past few years, and within the next month Disney plans to increase its stake in UTV Software, the parent of an ambitious young in Mumbai, from 14.9% to as much as 30%.

When Ronnie Screwvala, UTV's founder, started its film studio in 1995, he noted that the market was dominated by small, family-run operations which stuck to one formula: the song-and-dance- laden love story. “There was no experimentation and the market was not developing,” he says. Bollywood took a leap forward in 2001 when the government gave it industry status, meaning banks were allowed to lend to it. Cash from criminals was previously thought to finance many movies, and legitimate funds helped professionalise the industry. But until very recently, the films themselves did not change much.

What is Digital Cinema Projection?

A video projector takes a video signal and projects the corresponding image on a projection screen using a lens system. All video

Digital Cinema Projection (or Digital Cinema, for short) is a method whereby the traditional film containing the movie is replaced by an electronic copy contained on a storage device, such as a high-capacity hard drive and server. Instead of projecting light through film, digital cinema utilizes technologies such as DLP and LCOS to accomplish the task.

Digital Cinema is a new technology that is poised to spread in popularity in the movie industry. "Star Wars Episode II: Attack of the Clones" was the first all-digital feature, no film was used in the creation of that movie until film copies had to be made for theaters without Digital Cinema projectors. Many filmmakers (a term that is nearing a level of obsolesence) are using, or are considering using, digital technologies to create their movies. George Lucas (Star Wars movies, et al) has stated that his future films will be shot digitally, and Robert Rodriguez (Spy Kids, et al.) used digital cinema cameras to create "Once Upon a Time in Mexico."

Is Digital Cinema Better Than Traditional Film?

While the technologies behind Digital Cinema do not yet meet the image resolution capability of film, our experience has shown that many theaters showing traditional film presentations do not meet the capability of film either.

When comparing the average film presentation to the average digital cinema presentation, we have found that the digital cinema presentation was equal in picture quality and was a more stable image than film. While some complain of seeing artifacts, we have not observed problems with the presentations we've seen. Digital presentations do not get scratched, fade, or suffer the other problems that film experiences, especially after being played for an extended time. The picture and sound should be as good on day 100 as they were on day 1.

Because of this, we believe that Digital Cinema presentations improve the movie-going experience, and we are happy to identify those presentations in a special way in our publication.

Digital Cinema Makes 3D Better and Easier

The advent of digital cinema projection systems has brought about a rebirth of 3D efforts on the part of the movie studios. Previously, 3D using 35mm film was a tedious process to project and you were limited to wearing those odd-looking red and blue 3D glasses. Today's 3D Digital Cinema systems still use glasses, but they are mostly clear and are capable of delivering a better 3D experience than the old red-blue "anaglyph" process.

Language Film is considered to have its own language. James Monaco wrote a classic text on film theory titled "How to Read a Film". Director famously said, "[Andrei] Tarkovsky for me is the greatest [director], the one who invented a new language, true to the nature of film, as it captures life as a reflection, life as a dream." Examples of the language are a sequence of back and forth images of one actor's left profile speaking, followed by another actor's right profile speaking, then a repetition of this, which is a language understood by the audience to indicate a conversation. Another example is zooming in on the forehead of an actor with an expression of silent reflection, then changing to a scene of a younger actor who vaguely resembles the first actor, indicating the first actor is having a memory of their own past

Industry

Main article: Film industry

The making and showing of motion pictures became a source of profit almost as soon as the process was invented. Upon seeing how successful their new invention, and its product, was in their native , the Lumières quickly set about touring the Continent to exhibit the first films privately to royalty and publicly to the masses. In each country, they would normally add new, local scenes to their catalogue and, quickly enough, found local entrepreneurs in the various countries of Europe to buy their equipment and photograph, export, import and screen additional product commercially. The Oberammergau Passion Play of 1898[citation needed] was the first commercial motion picture ever produced. Other pictures soon followed, and motion pictures became a separate industry that overshadowed the vaudeville world. Dedicated theaters and companies formed specifically to produce and distribute films, while motion picture actors became major celebrities and commanded huge fees for their performances. By 1917 had a contract that called for an annual salary of one million dollars.

From 1931 to 1956, film was also the only image storage and playback system for television programming until the introduction of videotape recorders.

In the United States today, much of the film industry is centered around Hollywood. Other regional centers exist in many parts of the world, such as Mumbai-centered Bollywood, the Indian film industry's Hindi cinema which produces the largest number of films in the world.[2] Whether the ten thousand-plus feature length films a year produced by the Valley industry should qualify for this title is the source of some debate.[citation needed] Though the expense involved in making movies has led cinema production to concentrate under the auspices of movie studios, recent advances in affordable film making equipment have allowed productions to flourish.

Profit is a key force in the industry, due to the costly and risky nature of filmmaking; many films have large cost overruns, a notorious example being Kevin Costner's Waterworld. Yet many filmmakers strive to create works of lasting social significance. The (also known as "the Oscars") are the most prominent film awards in the United States, providing recognition each year to films, ostensibly based on their artistic merits.

There is also a large industry for educational and instructional films made in lieu of or in addition to lectures and texts.

UNIT2

Film Culture was an American film magazine started by Adolfas Mekas and his brother Jonas Mekas in 1954, and is now defunct. It is best known for exploring the avant-garde cinema in depth, but also published articles on all aspects of cinema, including Hollywood films. Articles from Film Culture are compiled in a book entitled Film Culture Reader, published by Cooper Square Press.

Film genre

In film theory, genre refers to the method based on similarities in the narrative elements from which films are constructed. Most theories of are borrowed fromliterary genre criticism. As with genre in a literary context, there is a great deal of debate over how to define or categorize genres.[citation needed]. Besides the basic distinction in genre betweenfiction and documentary (from which hybrid forms emerged founding a new genre, ), film genres can be categorized in several ways.

Fictional films are usually categorized according to their setting, theme topic, mood, or format. The setting is the milieu or environment where the story and action takes place. Thetheme or topic refers to the issues or concepts that the film revolves around. The mood is the emotional tone of the film. Format refers to the way the film was shot (e.g., anamorphic widescreen) or the manner of presentation (e.g.: 35 mm, 16 mm or 8 mm). An additional way of categorizing film genres is by the target audience. Some film theorists argue that neither format nor target audience are film genres.

Film genres often branch out into subgenres, as in the case of the courtroom and trial-focused subgenre of known as the . They can be combined to form hybrid genres, such as the melding of horror and comedy in the Evil Dead films.

Cinematic Elements Terms

Shots and Framing:

Shot: a single piece of film uninterrupted by cuts.

Establishing Shot: often a long shot or a series of shots that sets the scene. It is used to establish setting and to show transitions between locations.

Long Shot (LS): a shot from some distance. If filming a person, the full body is shown. It may show the isolation or vulnerability of the character (also called a Full Shot).

Medium Shot (MS): the most common shot. The camera seems to be a medium distance from the object being filmed. A medium shot shows the person from the waist up. The effect is to ground the story.

Close Up (CU): the image being shot takes up at least 80 percent of the frame.

Extreme Close Up: the image being shot is a part of a whole, such as an eye or a hand. Two Shot: a scene between two people shot exclusively from an angle that includes both characters more or less equally. It is used in love scenes where interaction between the two characters is important.

Camera Angles

Eye Level: a shot taken from a normal height; that is, the character’s eye level. Ninety to ninety- five percent of the shots seen are eye level, because it is the most natural angle.

High Angle: the camera is above the subject. This usually has the effect of making the subject look smaller than normal, giving him or her the appearance of being weak, powerless, and trapped.

Low Angle: the camera films subject from below. This usually has the effect of making the subject look larger than normal, and therefore strong, powerful, and threatening.

Camera Movements

Pan: a stationary camera moves from side to side on a horizontal axis.

Tilt: a stationary camera moves up or down along a vertical axis

Zoom: a stationary camera where the lens moves to make an object seem to move closer to or further away from the camera. With this technique, moving into a character is often a personal or revealing movement, while moving away distances or separates the audience from the character.

Dolly/Tracking: the camera is on a track that allows it to move with the action. The term also refers to any camera mounted on a car, truck, or helicopter.

Boom/Crane: the camera is on a crane over the action. This is used to create overhead shots.

Lighting

High Key: the scene is flooded with light, creating a bright and open-looking scene. Low Key: the scene is flooded with shadows and darkness, creating suspense or suspicion.

Bottom or Side Lighting: direct lighting from below or the side, which often makes the subject appear dangerous or evil.

Front or Back Lighting: soft lighting on the actor’s face or from behind gives the appearance of innocence or goodness, or a halo effect.

Editing Techniques

Cut: most common editing technique. Two pieces of film are spliced together to “cut” to another image.

Fade: can be to or from black or white. A fade can begin in darkness and gradually assume full brightness (fade-in) or the image may gradually get darker (fade-out). A fade often implies that time has passed or may signify the end of a scene.

Dissolve: a kind of fade in which one image is slowly replaced by another. It can create a connection between images.

Wipe: a new image wipes off the previous image. A wipe is more fluid than a cut and quicker than a dissolve.

Flashback: cut or dissolve to action that happened in the past.

Shot-Reverse-Shot: a shot of one subject, then another, then back to the first. It is often used for conversation or reaction shots.

Cross Cutting: cut into action that is happening simultaneously. This technique is also called parallel editing. It can create tension or suspense and can form a connection between scenes.

Eye-Line Match: cut to an object, then to a person. This technique shows what a person seems to be looking at and can reveal a character’s thoughts.

Sound

Diegetic: sound that could logically be heard by the characters in the film. Non-Diegetic: sound that cannot be heard by the characters but is designed for audience reaction only. An example might be ominous music for foreshadowing.

Indian New Wave / Parallel Cinema

Years 1946 - present (Parallel Cinema) active 1952 - 1976 (New Wave)

Country India

Satyajit Ray, Ritwik Ghatak, Mrinal Sen, Bimal Roy, V. Shantaram, Chetan Anand, Khwaja Ahmad Abbas, Adoor Major Gopalakrishnan, G. Aravindan, Shyam figures Benegal, Shaji N.Karun, Jahnu , , , Aparna Sen, Rituparno Ghosh, Buddhadeb Dasgupta, Goutam Ghosh

Indian theatre, , social Influences realism, ,

The Indian New Wave, commonly known in India as Art Cinema or Parallel Cinema as an alternative to the mainstream commercial cinema, is a specific movement in Indian cinema, known for its serious content, realism and naturalism, with a keen eye on the sociopolitical climate of the times. This movement is distinct from mainstream Bollywood cinema and began around the same time as the and . The movement was initially led by Bengali cinema (which has produced internationally acclaimed filmmakers such as Satyajit Ray, Mrinal Sen, Ritwik Ghatak and others) and then gained prominence in the other film industries of India.

Documentary films constitute a broad category of nonfictional motion pictures intended to document some aspect of reality, primarily for the purposes of instruction or maintaining a historical record.[1] A 'documentary film' was originally shot on film stock — the only medium available — but now includes video and digital productions that can be either direct-to-video, made as a television program or released for screening in cinemas. "Documentary" has been described as a "filmmaking practice, a cinematic tradition, and mode of audience reception" that is continually evolving and is without clear boundaries.

Defining 'documentary'

In popular , the word 'documentary' was coined by Scottish documentarian John Grierson in his review of Robert Flaherty's film Moana (1926), published in the New York Sun on 8 February 1926, written by "The Moviegoer" (a pen name for Grierson).[3]

Grierson's principles of documentary were that cinema's potential for observing life could be exploited in a new art form; that the "original" actor and "original" scene are better guides than their fiction counterparts to interpreting the modern world; and that materials "thus taken from the raw" can be more real than the acted article. In this regard, Grierson's definition of documentary as "creative treatment of actuality"[4] has gained some acceptance, with this position at variance with Soviet film-maker Dziga Vertov's provocation to present "life as it is" (that is, life filmed surreptitiously) and "life caught unawares" (life provoked or surprised by the camera). The American film critic Pare Lorentz defines a documentary film as "a factual film which is dramatic."[5] Others further state that a documentary stands out from the other types of non- fiction films for providing an opinion, and a specific message, along with the facts it presents.[6]

Documentary Practice is the complex process of creating documentary projects. It refers to what people do with media devices, content, form, and production strategies in order to address the creative, ethical, and conceptual problems and choices that arise as they make documentaries.

There are clear connections in terms of practice with magazine and newspaper feature-writing and indeed to non-fiction literature. Many of the generic forms of documentary, for example the biopic or profile; or the observational piece. These generic forms are explored on the University of Winchester Journalism Department 'features web' where 'long form journalism' is classified by genre or content, rather than in terms of production as film, radio or 'print'.

Unit-3

Film prodfuction

Filmmaking (often referred to in an academic context as film production) is the process of making a film, from an initial story idea or commission, through scriptwriting, shooting, editing, directing and distribution to an audience. ...

Production:_The job of a film producer is to bring all the elements of a movie and bind it together. He is usually involved from inception to completion and delivery of a film project. A course in Production includes studio production techniques; editorial and scriptwriting skills; single and multi-camera operation; microphone and sound recording skills; production management; radio and television presentation, production and direction; editing for radio and television.

The Digital Filmmaking Pre-production Process

Step 1: Film Concept Step 6: Location, Location, Location Step 2: Writing your script Step 7: Shooting Script Step 3: Drawing your storyboards Step 8: Scheduling Step 4: Film Funding Step 9: Call Sheets Step 5: Cast & Crew Step 10: Equipment

Where to start

Step 1: Film Concept/ Idea

This is the foundation on which to start building your script. An idea or principle/belief you can use as the focus of your script, around which to tell a story.

DO carry a pen and paper with you everywhere you go. You can’t predict when that winning idea will pop into your head. If you ’t write it down, you are likely to forget later in the day. Write any ideas down immediately!

DON’T write down just one idea and expect that to be the basis for your entire film. It may well be a great idea, but the greater the variety of ideas you have to choose from, the more flexible you can be with story/characters and plot when writing your script.

TOP TIP If you have trouble thinking of ideas during the day, keep a pen and a piece of paper next to your bed. You can come up with some truly bizarre concepts in your sleep, so not writing down anything you remember from a dream can be a true waste. Write in as much detail as you can recall, and include absolutely everything no matter how silly or inconsequential it may seem. Sometimes these little ideas/concepts can be a valuable resource.

Step 2: Writing Your Script

Script: A general term for a written work detailing story, setting, and dialogue.

For information about how to convert your ideas into a working script, visit:

DO keep writing down any new ideas, just because you’ve started your script doesn’t mean any new ideas you have a worthless. Also do not worry if you still have ‘holes’ in your story when you come to writing your script. The more you write, the more the story develops. Eventually you will find the ‘holes’ will have filled themselves.

DO try and be organised. The initial stages of converting your ideas into the basis for a script can seem a little daunting. This is complicated further when you keep getting new ideas as you are half-way through writing about a first one. Don’t panic. Keep a separate document handy and the moment you get a new idea write it down as quickly and as concisely as you can before turning you attention back to your original. Once that is finished, look back to your new idea and consider developing it further.

DON’T try and develop too many ideas at once. Sometimes it’s better to wait a while before going back to an idea to develop it further. Don’t work yourself too hard; tackle any new ideas with a fresh attitude. Further your ideas because you want too, not because you feel you need too.

TOP TIP Share your script revisions with people you trust to give you an honest opinion. Be able to take criticism, but also use that to help better your script. Sharing your script in this way can often help you get a fresh perspective and help you get around an obstacle you may have hit.

Step 3: Drawing Storyboards for your film

A sequence of rough sketches, created by an illustrator to communicate major changes of action or plot in a scene.

Don’t worry if you can’t draw too well: The point of storyboarding is to communicate your vision of the film to a crew who will be working under your direction. For them to understand what you’re trying to achieve is imperative. This saves a lot of communication problems when you eventually come to film on set, making your life as director a lot easier.

TOP TIPS The drawings need not be large, you can comfortably fit 4-6 on a page of A4 paper. Leave space under each drawing box to write down details of the shot, for example details of location, and a brief description of the action that is occurring.

REMEMBER:

Your storyboards are draw sequentially. They are a rough guide to how the film should look after you complete post-production.

Step 4: Funding for your Film Once you’ve finished your script and storyboards, you may want to send them off to certain companies to try and get financing for you film, allowing you to hire professional equipment or people. Presentation is very important. If you can, get an illustrator to draw some of your key storyboards.

For more information about places to send you script with a view to getting funding, visit:

Step 5: How to find Cast & Crew for your film

Cast & crew are obviously vital if you are to make your film successfully. There are a number of resources available to find the people you need.

TOP TIPS: Finding the right person for your film is tricky. You must devote a lot of time towards finding the right actor for your role. Don’t just hire the first person you meet (unless of course you have auditioned everyone else and they are most suited to the role). Ask for details of work they have done. Have an auditioning day. Do a few screen tests.

For vital crew members (ie DOP, or Producer), ask them for a breakdown of work they have done. Some will have a show-reel to let you view, but don’t rely on this. Most professionals are freelance, working regularly on different shoots so have very little time or means to make a show-reel.

NOTE: Some crew members may have their own equipment. Ask them. If they are willing to use it, it will help you. See Step 10 for details on Equipment

Step 6: Scouting for Locations

Location: Filming which occurs at a place not constructed specifically for the production is said to be 'on location'. This is usually outdoors, at a well-known location, or a real place which suffices.

TOP TIPS Don’t just go to one location; travel around to as many as possible. Keep in mind these key aspects:

• Filming in any location will require plenty of space for cast & crew, as well as moderately easy accessibility for all the camera/sound & lighting equipment.

• Unless you have a petrol generator, you will want to limit outdoor filming as much as possible. If you are running the camera off batteries you only have a certain amount of power to get the shots you need. This often leads to shots being rushed or not finished properly, which brings down the overall quality of the work.

• When scouting for locations, take a digital camera with you, such as the Kodak EasyShare LS743. Take as many pictures as you can and log the photos for each location. To save time, this can be done simply by writing the place name on a piece of paper and having it in the first shot of that location.

Step 7: Preparing a Shooting Script Shooting Script:

The script from which a movie is made. Contains scenes placed in order of filming. Usually contains technical notes and/or drawings. A shooting script is essentially a script that breaks the film into scenes, placed in sequence as they are to be filmed on set/location. These can include any sketches or photographs of locations, include ideas you may wish to film in as well as scene breakdowns, types of shot (ie. A tracking shot) and technical drawings.

Step 8: Organising a Schedule

Your schedule is to accompany your shooting script. A schedule gives you control over the day-to-day shooting of the film. You can allocate how much time you feel is needed for each shot, by looking at your storyboards and shooting script simultaneously.

Scheduling will certainly test your patience. You will need to make countless calls and send countless E-mails to make sure all your cast and crew are available on the days you want to shoot. If one person can’t make it, then you will need to re-organise the whole day again.

TOP TIP It is worth while over-estimating for your first shoot until you get to grips with how long different tasks take (ie setting up lighting, moving cameras etc) Give yourself more time than you need.

Step 9: Writing and Distributing Call Sheets

A call sheet is a listing of which cast members should arrive for make-up, what time actors/crew are due on set, what scenes they are in and what special requirements (if any) are needed. It is essentially a daily breakdown of the shoot. You should also include pick-up times and locations if you have arranged transport. TOP TIP On the call sheet include the actor’s name as well as the character’s name.

Step 10: Equipment for filming

The range of digital video equipment varies greatly. Depending on your budget, you have different options available to you.

Entry level equipment, such as the JVC GR-D33 MiniDV Digital Camcorder is ideal for films on a low budget. The convenience of having your own camera also stops any potential restrictions you may have by renting one.

For those with a slightly larger budget, we reccomend the Sony HDR-HC1E or the Sony HDR- FX1 .

TOP TIPS When buying a camera it is worthwhile getting additional extras; Buying an extra battery is incredibly useful for outdoor filming, and having camera equipment such as tripods or monopods available to you help with the filming process.

Lighting: For indoor filming, you are going to need lighting. Do not underestimate the importance of lighting. It can make all the difference to a shot being the best you’ve filmed, or ending up on the cutting room floor.

Cutting Room Floor: Term applied to a piece of footage that does not appear in the final cut of the film. Scenes or shots are usually dropped because of time constraints, or an error in the filming process.

(Script Writer) or scenarists or scriptwriters are people in a film crew who write/create the screenplays from which films and television programs are made.

A character is the representation of a person in a narrative work of art (such as a novel, play, or film). Derived from the ancient Greek word kharaktêr, the English word dates from the Restoration, although it became widely used after its appearance in Tom Jones in 1749. From this, the sense of "a part played by an actor" developed. Character, particularly when enacted by an actor in the theatre or cinema, involves "the illusion of being a human person." In literature, characters guide readers through their stories, helping them to understand plots and ponder themes. Since the end of the 18th century, the phrase "in character" has been used to describe an effective impersonation by an actor. Since the 19th century, the art of creating characters, as practised by actors or writers, has been called characterisation.

A character who stands as a representative of a particular class or group of people is known as a type. Types include both stock characters and those that are more fully individualised. The characters in Henrik Ibsen's Hedda Gabler (1891) and August Strindberg's Miss Julie (1888), for example, are representative of specific positions in the social relations of class and gender, such that the conflicts between the characters reveal ideological conflicts.

The study of a character requires an analysis of its relations with all of the other characters in the work. The individual status of a character is defined through the network of oppositions (proairetic, pragmatic, linguistic, proxemic) that it forms with the other characters. The relation between characters and the action of the story shifts historically, often miming shifts in society and its ideas about human individuality, self-determination, and the social order.

 How to Edit & Record Sound Tracks

 By Lori Spencer, eHow Contributor

 Using simple software, you can turn your home into a recording studio.  These days, you need not spend a fortune on equipment or pay for expensive recording studio time to produce a professional-sounding product. There are many free software packages you can download for recording and editing sound files. Two of the most popular are Audacity and WavePad; both are easy for beginners to learn and are compatible with Windows and Mac operating systems. Advanced users may want to consider paying for sophisticated software such as MixPad, ProTools or Digital Performer. This is highly recommended if you plan to do multi-track recording, mixing, and more complicated editing tasks.

No matter which audio software you choose, the basics of recording and editing digital sound tracks is pretty much the same across the board. Feel free to experiment until you find the software that works best for your needs.

UNIT-4 Special effect

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A Fireball In The Dark

Bluescreens are commonly used in chroma key special effects.

A methane bubble bursting

The illusions used in the film, television, theatre, videogame, or simulator industries to simulate the imagined events in a story or virtual world are traditionally called special effects (often abbreviated as SFX, SPFX, or simply FX).

Special effects are traditionally divided into the categories of optical effects and mechanical effects. With the emergence of digital film-making tools a greater distinction between special effects and visual effects has been recognized, with "visual effects" referring to digital post- production and "special effects" referring to on-set mechanical effects and in-camera optical effects.

Optical effects (also called photographic effects), are techniques in which images or film frames are created photographically, either "in-camera" using multiple exposure, mattes, or the Schüfftan process, or in post-production processes using an optical printer. An optical effect might be used to place actors or sets against a different background.

Mechanical effects (also called practical or physical effects), are usually accomplished during the live-action shooting. This includes the use of mechanized props, scenery, scale models, pyrotechnics and Atmospheric Effects: creating physical wind, rain, fog, snow, clouds etc. Making a car appear to drive by itself, or blowing up a building are examples of mechanical effects. Mechanical effects are often incorporated into set design and makeup. For example, a set may be built with break-away doors or walls to enhance a fight scene, or prosthetic makeup can be used to make an actor look like a monster.

Since the 1990s, computer generated imagery (CGI) has come to the forefront of special effects technologies. CGI gives film-makers greater control, and allows many effects to be accomplished more safely and convincingly – and even, as technology marches on, at lower costs. As a result, many optical and mechanical effects techniques have been superseded by CGI.

Mise-en-scène refers to the visual design of a film. A narrative film’s visual elements can include lighting, set décor, costume design, props, blocking, spatial relationships, scene composition—Mise-en-scène is how these visual elements work together to tell the story. Every visual element designed for narrative film is considered mise-en-scène. Even non-narrative films, such as documentaries, can be said to have a certain degree of mise-en-scène. This arrangement and design expresses aspects of the characters, themes, and story that are necessarily in dialogue.

The 'Night Visitor' scene of Robert Wiene’s "The Cabinet of Dr. Caligari." The film's mise-en- scène is used to express aspects of the characters or story visually, without relying on dialogue.

Consider the “Night Visitor” scene of Robert Wiene’s The Cabinet of Dr. Caligari. The character Cesare has entered the bedroom of Jane Olsen. The mise-en-scène of The Cabinet of Dr. Caligari is not realistic at all – it reflects the state of mind of the storyteller, Francis. As Francis relates the story, the mise-en-scène accents the emotional subtext. Cesare is a dark and threatening character. He lurks in the shadows, his features obscured in darkness. Obfuscation reflects Cesare’s inhumanity–he has no free will or personality of his own. He is a dark figure carrying out evil deeds at his master’s behest.

Jane lays asleep in her bed. White pillows and lace coddle her. This décor suggests a virginal and vulnerable character, unaware of impending danger. This image directly conflicts with the threatening Cesare. He emerges from the shadows towards her. The set design behind Cesare is sharp and angular. There are several dagger-like shapes jutting overhead. Cesare walks underneath these sinister shapes, implying his murderous intentions. The actor’s blocking (or pre-ordained path) to Jane continues underneath the dagger-shapes, shapes which aim at the defenseless Jane.

Thin film characterization is one of many core technologies at Balazs NanoAnalysis. As a global leader, Balazs has supported hundreds of high-technology companies in their R&D and manufacturing processes. Raising the bar on quality, performance, and problem solving is how Balazs finds new and innovative ways to help its clients reach their goals.

Visualizing is the key to realizing. The more and more you visualize what you want, the better chance of success you will have. In this article, you are going to learn two types of visualization techniques. First, you're going to learn how to visualize properly. Second, you're going to learn a different technique called visualize and verbalize.

Unit -4

How to Write a Movie Review

Writing a movie review is a great way of expressing your opinion of a movie. The purpose of most movie reviews is to help the reader in determining whether they want to watch, rent or buy the movie. The review should give enough details about the movie that the reader can make an informed decision, without giving anyway any essentials such as the plot or any surprises. Below are our guidelines and tips for writing a good movie review.

1. Watch the movie The first step in writing the review is to watch the movie. Watch the movie in a relaxed environment you are familiar with. You do not want to be distracted by an unfamiliar room. Watching the movie a second time will help you to absorb a lot more detail about the movie. Most movie reviewers take notes as they watch the movie.

2. Give your opinion

Most movie reviewers will give their opinion of the movie. This is important as the reviewer can express the elements of the movie they enjoyed or disliked. However, as in all good journalism, the reviewer should also give impartial details, and allow the reader to make their own mind over an issue the reader liked or disliked. Opinions should be explained to allow the reader to determine whether they would agree with your opinion .

Many regular movie reviewers will develop a following. If one can find a reviewer who shares a similar taste in films, one can confidently follow the reviewers recommendations.

3. Who is your audience?

You need to consider who your likely readers are. Writing a movie review for children requires a different approach than if writing for a movie club. Ensure you report on the factors that matter to your likely audience.

4. Give an outline

Give the outline of the movie, but don't give away essential details such as the end or any surprises. If there is a big surprise you want to entice readers by telling them something special happens, just don't say what.

5. Actors

If the movie contains actors, as most do, detail who is starring in the movie and how well you think they acted.

6. Structure

Did the movie follow a regular predictable story line, or did it get you thinking like a Quentin Tarantino movie?

7.Cinematography and lighting

Give details about how well the movie was shot and directed. Was the lighting good in the moody scenes?

8. Music

Did the movie have its own score like Koyaanisqatsi or ET, or did it feature songs from popular artists?

9. Read, read and read

Read and check your review thoroughly. It can be embarrassing to find errors in your work after it has been published. This is especially important for reviews that will be published on the Internet, as search engines are always looking for the correct spellings of keywords.

What is Film Appreciation

To be able to appreciate there needs to be an ‘understanding’ and that is what film appreciation is all about for me. To help you understand the key dynamics of what film is made up of – technology, art, industry. The next stage of the process hopefully would be to reflect on it and to appreciate it.

To look back at the history of cinema is important as there lies the story of the evolution of the language of cinema. To really understand what contemporary cinema is made up of we need to look at what went before because on the foundation of the past is based the present and the future.

The language of cinema is universal which crosses all boundaries. Cinema has been influenced by various artists, countries, innovators, art forms, businesses and the coming together of these forces creates something unique which is cinema as we know it today. Understanding these contributions makes the study of cinema more interesting and valuable.

‘Film Appreciation’ is a humble attempt to make you aware of the potential of cinema and empower the artist and audience aiming towards a more enriching experience.

Film criticism is the analysis and evaluation of films, individually and collectively. In general, this can be divided into journalistic criticism that appears regularly in newspapers, and other popular, mass-media outlets and academic criticism by film scholars that is informed by film theory and published in journals.

Journalistic criticism

Film critics working for newspapers, magazines, broadcast media, and online publications, mainly review new releases. The plot summary and description of a film that makes up the majority of any film review can have an important impact on whether people decide to see a film. Poor reviews can doom a film to obscurity and financial loss.

In recent times, the impact reviews have on a film's box office performance and DVD rentals/sales have become a matter for debate. There are those who think modern movie marketing, using pop culture convention appearances and social media along with traditional means of advertising, have become so invasive and well financed that established reviewers with legitimate criticism cannot be heard over the din of popular support. Moreover, this has led, in part, to a decline in the readership of many reviewers for newspapers and other print publications. The vast majority of film critics on television and radio have all but disappeared over the last thirty years, as well. It can be observed that most of the discussion of film on television is focused on the amount of box office business a film does, as if financial success were the only criterion needed to define artistic success. Today arts criticism in general does not hold the same place it once held with the general public.

Conversely, it's been claimed positive film reviews have been known to spark interest in little- known films. For example, independent films with smaller marketing budgets, such as The Hurt Locker, are promoted more widely thanks to the positive reviews they received. There are those who believe critics are biased towards art-house films (examples: The Hurt Locker, Blue Valentine) and against commercial blockbusters (examples: Pirates of the Caribbean, Cowboys & Aliens). However, many critics analyze a film by its inexhaustibility, or the range of its impact and appeal on to generations of fans beyond its original release date.

Today, fan-run film analysis websites like Box Office Prophets and Box Office Guru routinely factor in general public film review opinion with those of more experienced reviewers in their projections of a film. Other websites, such as Rotten Tomatoes, combines all reviews on a specific film published online and in print to come up with an aggregated rating known as a "freshness rate." Content analysis or textual analysis is a methodology in the social sciences for studying the content of communication. Earl Babbie defines it as "the study of recorded human communications, such as books, websites, paintings and laws."

According to Dr. Farooq Joubish, content analysis is considered a scholarly methodology in the humanities by which texts are studied as to authorship, authenticity, or meaning. This latter subject include philology, hermeneutics, and semiotics.

Harold Lasswell formulated the core questions of content analysis: "Who says what, to whom, why, to what extent and with what effect?." Ole Holsti (1969) offers a broad definition of content analysis as "any technique for making inferences by objectively and systematically identifying specified characteristics of messages." Kimberly A. Neuendorf (2002, p. 10) offers a six-part definition of content analysis:

"Content analysis is a summarising, quantitative analysis of messages that relies on the scientific method (including attention to objectivity, intersubjectivity, a priori design, reliability, validity, generalisability, replicability, and hypothesis testing) and is not limited as to the types of variables that may be measured or the context in which the messages are created or presented."

FILMCLUB is an education charity which sets up film clubs in schools and other education and care establishments in England, , Northern Ireland, Scotland and the Isle of Man. The scheme is free to all state primary and secondary schools in Wales and England. The organisation was founded in September 2006, and after a successful pilot in 2007,[1] the initial UK roll-out began in April 2008.

FILMCLUB gives children from participating schools access to thousands of films and organises school visits by professionals from within the film industry. Pupils are encouraged to watch a diverse range of films including classics, movies, documentaries, blockbusters and foreign language titles, and to review the films they watch on the organisation's website (www.filmclub.org). The clubs are generally run by teachers or similar education professionals, but may also be led by older pupils, often from a school's 6th Form. The organisation is a charity, and is funded by the Department for Education in England, and The BFI Lottery Transition Fund for Audience Development, with the DVD rental service provided by LOVEFiLM.

Club funding

FILMCLUB is funded in England by the Department for Education and works in partnership with the BFI, BAFTA, and fellow members of the leadership group Film: 21st Century Literacy (see below). In Northern Ireland, FILMCLUB is funded by the Department of Culture, Arts and Leisure and Northern Ireland Screen in partnership with CineMagic (film festival). In Wales, FILMCLUB is funded by the Welsh Assembly in partnership with Film Agency for Wales, Arts Council of Wales, , It's My Shout, and BBC Cymru Wales. In the Isle of Man, FILMCLUB works with Isle of Man Government, Isle of Man Film and Cinema NX.