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Sometimes from 1878 is cited as the earliest film. Film, also called a movie, motion picture, theatrical film, or photoplay, is a series of still images that when shown on a create an illusion of motion images (due to the ). This causes the audience to perceive continuous motion between separate objects viewed rapidly in succession. The process of is both an and an.

A film is created by actual scenes with a; by photographing drawings or miniature models using traditional techniques; by means of and; or by a combination of some or all of these techniques and other. The word ' cinema', short for, is often used to refer to the industry of films and filmmaking or to the art of filmmaking itself. The contemporary definition of cinema is the art of simulating experiences to communicate ideas, stories, perceptions, feelings, beauty or atmosphere by the means of recorded or programmed moving images along with other sensory stimulations. Films were originally recorded onto plastic film through a process and then shown through a onto a large screen. Contemporary films are now often through the entire process of production, distribution, and exhibition from start to finish, while films recorded in a photochemical form traditionally included an analogous, which is a graphic of the spoken words, music and other that accompany the images.

It runs along a portion of the film exclusively reserved for it and is not projected. Films are created by specific. They reflect those cultures, and, in turn, affect them. Film is considered to be an important form, a source of popular entertainment, and a powerful medium for —or —citizens. The visual basis of film gives it a universal power of communication. Some films have become popular worldwide attractions by using or to the dialog into the language of the viewer.

Some have criticized the film industry's glorification of violence and its potentially negative treatment of women. The individual images that make up a film are called. During projection of traditional films, a rotating shutter causes intervals of darkness as each frame, in turn, is moved into position to be projected, but the viewer does not notice the interruptions because of an effect known as, whereby the eye retains a visual image for a fraction of a second after the source has been removed. The perception of motion is due to a psychological effect called. The name 'film' originates from the fact that (also called ) has historically been the for recording and displaying motion pictures. Many other terms exist for an individual motion picture, including picture, picture show, moving picture, photoplay, and flick.

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The most common term in the is movie, while in film is preferred. Terms for the field, in general, include the big screen, the silver screen, the movies, and cinema; the latter is commonly used in scholarly texts and critical essays, especially by European writers. In early years, the word sheet was sometimes used instead of screen. The was the site of the first ever, with a short film presented by the on 1 November 1895. (This picture depicts a July 1940 at the theater.) Preceding technologies Preceding film in origin by thousands of years, early and had elements common to film:,,,,,,, and. Much terminology later used in film theory and criticism apply, such as (roughly, the entire visual picture at any one time).

Owing to the lack of any technology for doing so, the moving images and sounds could not be recorded for replaying as with film. The, probably created by in the 1650s, could be used to project, which was achieved by various types of mechanical slides. Typically, two glass slides, one with the stationary part of the picture and the other with the part that was to move, would be placed one on top of the other and projected together, then the moving slide would be hand-operated, either directly or by means of a lever or other mechanism. Chromotrope slides, which produced eye-dazzling displays of continuously cycling abstract geometrical patterns and colors, were operated by means of a small crank and pulley wheel that rotated a glass disc. In the mid-19th century, inventions such as 's and the later demonstrated that a carefully designed sequence of drawings, showing phases of the changing appearance of objects in motion, would appear to show the objects actually moving if they were displayed one after the other at a sufficiently rapid rate.

These devices relied on the phenomenon of to make the display appear continuous even though the observer's view was actually blocked as each drawing rotated into the location where its predecessor had just been glimpsed. Each sequence was limited to a small number of drawings, usually twelve, so it could only show endlessly repeating cyclical motions. By the late 1880s, the last major device of this type, the, had been elaborated into a form that employed a long coiled band containing hundreds of images painted on glass and used the elements of a to project them onto a screen. The use of sequences of in such devices was initially limited to a few experiments with subjects photographed in a series of poses because the available were not sensitive enough to allow the short needed to photograph subjects that were actually moving. The sensitivity was gradually improved and in the late 1870s, created the first animated image sequences photographed in real-time. A row of cameras was used, each, in turn, capturing one image on a, so the total number of images in each sequence was limited by the number of cameras, about two dozen at most. Muybridge used his system to analyze the movements of a wide variety of animal and human subjects.

Hand-painted images based on the photographs were projected as moving images by means of his. A clip from the silent film (1918) The rise of European cinema was interrupted by the outbreak of, while the film industry in the United States flourished with the rise of, typified most prominently by the innovative work of in (1915) and (1916). However, in the 1920s, European filmmakers such as, and, in many ways inspired by the meteoric wartime progress of film through Griffith, along with the contributions of, and others, quickly caught up with American film-making and continued to further advance the medium. Sound In the 1920s, the development of electronic technologies made it practical to incorporate a of speech, music and synchronized with the action on the screen. [ ] The resulting were initially distinguished from the usual silent 'moving pictures' or 'movies' by calling them 'talking pictures' or 'talkies.'

[ ] The revolution they wrought was swift. By 1930, silent film was practically extinct in the US and already being referred to as 'the old medium.' [ ] Colour Another major technological development was the introduction of ',' which meant color that was photographically recorded from nature rather than added to black-and-white prints by hand-coloring, stencil-coloring or other arbitrary procedures, although the earliest processes typically yielded colors which were far from 'natural' in appearance. [ ] While the advent of sound films quickly made silent films and theater musicians obsolete, color replaced black-and-white much more gradually. [ ] The pivotal innovation was the introduction of the three-strip version of the process, first used for animated cartoons in 1932, then also for live-action and isolated sequences in a few, then for an entire feature film,, in 1935. The expense of the process was daunting, but favorable public response in the form of increased receipts usually justified the added cost.

The number of films made in color slowly increased year after year. 1950s developments In the early 1950s, the proliferation of black-and-white television started seriously depressing North American theater attendance. [ ] In an attempt to lure audiences back into theaters, bigger screens were installed, processes,, and were introduced, and more films were made in color, which soon became the rule rather than the exception. Some important mainstream Hollywood films were still being made in black-and-white as late as the mid-1960s, but they marked the end of an era. Color television receivers had been available in the US since the mid-1950s, but at first, they were very expensive and few broadcasts were in color. During the 1960s, prices gradually came down, color broadcasts became common, and sales boomed. The overwhelming public verdict in favor of color was clear.

After the final flurry of black-and-white films had been released in mid-decade, all Hollywood studio productions were filmed in color, with rare exceptions reluctantly made only at the insistence of 'star' directors such as and. [ ] 1960s and later The decades following the decline of the in the 1960s saw changes in the production and style of film. Various New Wave movements (including the,,, and ) and the rise of film-school-educated independent filmmakers contributed to the changes the medium experienced in the latter half of the 20th century.

[ ] Digital technology has been the driving force for change throughout the 1990s and into the 2000s. Digital 3D projection largely replaced earlier problem-prone 3D film systems and has become popular in the early 2010s. [ ] Film theory. Main articles: and 'Film theory' seeks to develop concise and systematic concepts that apply to the study of film as. The concept of film as an art-form began with 's The Birth of the Sixth Art., led by,, and, emphasized how film differed from reality and thus could be considered a valid. Reacted against this theory by arguing that film's artistic essence lay in its ability to mechanically reproduce reality, not in its differences from reality, and this gave rise to realist theory. More recent analysis spurred by 's psychoanalysis and 's among other things has given rise to,,, and others.

On the other hand, critics from the tradition, influenced by, try to clarify misconceptions used in theoretical studies and produce analysis of a film's vocabulary and its link to a. Language Film is considered to have its own. Wrote a classic text on film theory, titled 'How to Read a Film,' that addresses this. Director famously said, ' for me is the greatest, the one who invented a new language, true to the nature of film, as it captures life as a reflection, life as a dream.'

An example of the language is a sequence of back and forth images of one speaking actor's left profile, followed by another speaking actor's right profile, then a repetition of this, which is a language understood by the audience to indicate a conversation. This describes another theory of film, the, as a visual story-telling device with an ability to place a viewer in a context of being psychologically present through the use of visual composition and editing.

The ' includes this narrative theory, due to the overwhelming practice of the rule by movie studios based in Hollywood, California, during film's classical era. Another example of cinematic language is having a shot that zooms in on the forehead of an actor with an expression of silent reflection that cuts to a shot of a younger actor who vaguely resembles the first actor, indicating that the first person is remembering a past self, an edit of compositions that causes a time transition.

Main article: Montage is the technique by which separate pieces of film are selected, edited, and then pieced together to make a new section of film. A scene could show a man going into battle, with flashbacks to his youth and to his home-life and with added special effects, placed into the film after filming is complete. As these were all filmed separately, and perhaps with different actors, the final version is called a montage. Directors developed a theory of montage, beginning with and the complex juxtaposition of images in his film. Incorporation of musical and visual, and scene development through,, and effects has led to more complex techniques comparable to those used in and. Film criticism.

Main article: Film criticism is the analysis and evaluation of films. In general, these works can be divided into two categories: academic criticism by film scholars and journalistic film criticism that appears regularly in and other media.

Film critics working for newspapers,, and mainly review new releases. Normally they only see any given film once and have only a day or two to formulate their opinions. Despite this, critics have an important impact on the audience response and attendance at films, especially those of certain. Mass marketed,, and tend not to be greatly affected by a critic's overall judgment of a film. The plot summary and description of a film and the assessment of the director's and screenwriters' work that makes up the majority of most film reviews can still have an important impact on whether people decide to see a film. For prestige films such as most and, the influence of reviews is important.

Poor reviews from leading critics at major papers and magazines will often reduce audience interest and attendance. The impact of a reviewer on a given film's performance is a matter of debate. Some observers claim that in the 2000s is so intense, well-coordinated and well financed that reviewers cannot prevent a poorly written or filmed from attaining market success. However, the cataclysmic failure of some heavily promoted films which were harshly reviewed, as well as the unexpected success of critically praised independent films indicates that extreme critical reactions can have considerable influence. Other observers note that positive film reviews have been shown to spark interest in little-known films. Conversely, there have been several films in which film companies have so little confidence that they refuse to give reviewers an advanced viewing to avoid widespread panning of the film.

However, this usually backfires, as reviewers are wise to the tactic and warn the public that the film may not be worth seeing and the films often do poorly as a result. Journalist film critics are sometimes called film reviewers. Critics who take a more academic approach to films, through publishing in film journals and writing books about films using or approaches, study how film and filming techniques work, and what effect they have on people. Rather than having their reviews published in newspapers or appearing on television, their articles are published in scholarly journals or up-market magazines. They also tend to be affiliated with colleges or universities as professors or instructors. The near was the first large-scale film studio in the world (founded 1912) and the forerunner to. It still produces global blockbusters every year.

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 France, the 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 of 1898 [ ] 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 and companies formed specifically to produce and distribute films, while motion picture actors became major 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 until the introduction of. In the United States, much of the film industry is centered around. Other regional centers exist in many parts of the world, such as -centered, the cinema which produces the largest number of films in the world.

Though the expense involved in making films has led cinema production to concentrate under the auspices of, recent advances in affordable film making equipment have allowed independent film productions to flourish. Profit is a key force in the industry, due to the costly and risky nature of filmmaking; many films have large, an example being 's. 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, providing recognition each year to films, 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. Revenue in the industry is sometimes volatile due to the reliance on released in. The rise of alternative home entertainment has raised questions about the future of the cinema industry, and Hollywood employment has become less reliable, particularly for medium and low-budget films. Associated fields. Main article: A preview performance refers to a showing of a film to a select audience, usually for the purposes of corporate promotions, before the public film premiere itself.

Previews are sometimes used to judge audience reaction, which if unexpectedly negative, may result in recutting or even refilming certain sections based on the. One example of a film that was changed after a negative response from the test screening is 1982's.

After the test audience responded very negatively to the death of protagonist, a, at the end of the film, the company wrote and re-shot a new ending in which the character survives. Trailer and teaser.

Main article: Trailers or previews are advertisements for films that will be shown in 1 to 3 months at a cinema. Back in the early days of cinema, with theaters that had only one or two screens, only certain trailers were shown for the films that were going to be shown there. Later, when theaters added more screens or new theaters were built with a lot of screens, all different trailers were shown even if they weren't going to play that film in that theater. Film studios realized that the more trailers that were shown (even if it wasn't going to be shown in that particular theater) the more patrons would go to a different theater to see the film when it came out. The term 'trailer' comes from their having originally been shown at the end of a film program.

That practice did not last long because patrons tended to leave the theater after the films ended, but the name has stuck. Trailers are now shown before the film (or the 'A film' in a program) begins.

Film trailers are also common on and, as well as on the Internet and mobile devices. Trailers are created to be engaging and interesting for viewers. As a result, in the Internet era, viewers often seek out trailers to watch them. Of the ten billion videos watched online annually in 2008, film trailers ranked third, after news and user-created videos. Teasers are a much shorter preview or advertisement that lasts only 10 to 30 seconds. Teasers are used to get patrons excited about a film coming out in the next six to twelve months.

Teasers may be produced even before the film production is completed. Education and propaganda. Main articles: and Film is used for a range of goals, including education and propaganda.

When the purpose is primarily educational, a film is called an '. Examples are recordings of academic lectures and experiments, or a film based on a classic novel. Film may be, in whole or in part, such as the films made by in Nazi Germany, US war film trailers during World War II, or artistic films made under Stalin.

They may also be works of political protest, as in the films of, or more subtly, the films of. The same film may be considered educational by some, and propaganda by others as the categorization of a film can be subjective. Main article: 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 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 's 1963 film ), or thousands of actors, extras, and crew members 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 of a Hollywood-style film, these main stages are defined as: • • • • • This production cycle usually takes three years.

The first year is taken up with development. The second year comprises preproduction and production. The third year, post-production and distribution. The bigger the production, the more resources it takes, and the more important becomes; most are artistic works from the creators' perspective (e.g.,,, ) and for-profit business entities for the production companies. Main article: A film crew is a group of people hired by a film company, employed during the 'production' or 'photography' phase, for the purpose of producing a film or motion picture. Crew is distinguished from cast, who are the who appear in front of the or provide voices for characters in the film. The crew interacts with but is also distinct from the production staff, consisting of producers, managers, company representatives, their assistants, and those whose primary responsibility falls in pre-production or post-production phases, such as and.

Communication between production and crew generally passes through the director and his/her staff of assistants. Medium-to-large crews are generally divided into departments with well-defined hierarchies and standards for interaction and cooperation between the departments. Other than acting, the crew handles everything in the photography phase: props and costumes, shooting, sound, electrics (i.e., lights), sets, and production special effects. (known in the film industry as 'craft services') are usually not considered part of the crew. See also: consists of transparent,, or 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 for images on the reel have had a rich history, though most large commercial films are still shot on (and distributed to theaters) as prints.

Originally moving picture film was shot and projected at various speeds using hand-cranked and; 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). When was introduced in the late 1920s, a constant speed was required for the sound head. 24 frames per second were 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 and, allowing to 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 soundtrack 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.

It can be used to present a progressive sequence of still images in the form of a slideshow. Film has also been incorporated into 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 films on cellulose nitrate base have been copied onto modern safety films. Some studios save color films through the use of: three B&W negatives each exposed through red, green, or blue filters (essentially a reverse of the 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. 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 technology similar to that used in.

Modern and are gaining ground as well. These approaches are preferred by some film-makers, especially because footage shot with can be evaluated and edited with (NLE) without waiting for the film stock to be processed. The migration was gradual, and as of 2005, most major motion pictures were still shot on film. [ ] Independent.

Were the first filmmakers; as such, they made their films as independents, without support from a studio, as at that time the major film studios did not exist. Independent filmmaking often takes place outside Hollywood, or other major. An independent film (or indie film) is a film initially produced without financing or distribution from a. Download Cisco Router Ios Image Gns3vault on this page. Creative, business and technological reasons have all contributed to the growth of the indie film scene in the late 20th and early 21st century. On the business side, the costs of big-budget studio films also lead to conservative choices in cast and crew. There is a trend in Hollywood towards co-financing (over two-thirds of the films put out by in 2000 were joint ventures, up from 10% in 1987).

A hopeful director is almost never given the opportunity to get a job on a big-budget studio film unless he or she has significant industry experience in film or television. Also, the studios rarely produce films with unknown actors, particularly in lead roles. Before the advent of 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 in 1985, and more importantly, the arrival of high-resolution 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. Technologies such as, connections and a wide variety of professional and consumer-grade make film-making relatively affordable. Since the introduction of digital video technology, the means of production have become more democratized. Filmmakers can conceivably shoot a film with a digital video camera and edit the film, create and edit the sound and music, and mix the final cut on a high-end home computer. However, while the means of production may be democratized, financing, distribution, and marketing remain difficult to accomplish outside the traditional system.

Most independent filmmakers rely on to get their films noticed and sold for distribution. The arrival of internet-based video websites such as and has further changed the filmmaking landscape, enabling indie filmmakers to make their films available to the public.

Open content film. Main articles: and Film distribution is the process through which a film is made available for viewing by an. This is normally the task of a professional, who would determine the marketing strategy of the film, the media by which a film is to be exhibited or made available for viewing, and may set the and other matters. The film may be exhibited directly to the public either through a (historically the main way films were distributed) or for (including on or,, online, through etc.). Other ways of distributing a film include rental or personal purchase of the film in a variety of media and formats, such as tape or, or of using a computer.

An animated image of a horse, made using eight pictures. Animation is a technique in which each frame of a film is produced individually, whether generated as a computer graphic, or by photographing a drawn image, or by repeatedly making small changes to a model unit (see and ), and then photographing the result with a special. When the frames are strung together and the resulting film is viewed at a speed of 16 or more frames per second, there is an illusion of continuous movement (due to the ). Generating such a film is very labor-intensive and tedious, though the development of has greatly sped up the process. Because animation is very time-consuming and often very expensive to produce, the majority of animation for and films comes from professional animation studios.

However, the field of has existed at least since the 1950s, with animation being produced by independent studios (and sometimes by a single person). Several independent animation producers have gone on to enter the professional animation industry. Is a way of increasing production and decreasing costs of animation by using 'short cuts' in the animation process. This method was pioneered by and popularized by in the, and by in, and adapted by other studios as cartoons moved from to. Although most animation studios are now using digital technologies in their productions, there is a specific style of animation that depends on film. Camera-less animation, made famous by film-makers like,, and, is painted and drawn directly onto pieces of film, and then run through a projector. See also • • • basic genre • basic genre • genre • Lists.

• Severny, Andrei (2013-09-05)... From the original on September 7, 2013.

Retrieved September 5, 2013. • Media, Sex, Violence, and Drugs in the Global Village – Page 51, Kuldip R. Rampal – 2001 •. From the original on 1 January 2017.

Retrieved 30 December 2016. 22 January 2013. Taj Mahal Telugu Movie Ringtones Free Download more. From the original on 20 October 2016. Retrieved 30 December 2016.

• Barber, Theodore X (1989). 'Phantasmagorical Wonders: The Magic Lantern Ghost Show in Nineteenth-Century America'.

Film History. 3 (2): 73–86.

• Williams, Alan Larson (1992) 2016-04-28 at the. Harvard University Press • Nelmes, Jill (2004). (3rd ed., Reprinted.

London: Routledge. • 2008-03-07 at the. Retrieved June 23, 2007. From the original on 2016-04-05. Retrieved 2016-04-28. • Christopherson, Susan (2013-03-01).. Cambridge Journal of Regions, Economy and Society.

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Advertisement for, the first produced in what is now Indonesia The first showing of films in the was in 1900, and over the next twenty years foreign productions – generally from the United States – were imported and shown throughout the country. Domestic production of had begun in 1911 but were unable to compete with imported works. By 1923 a local production spearheaded by the Middle East Film Co. Was announced, but the work was not completed. The first domestically produced film in the Indies was in 1926:, a silent film by director L. This adaptation of the was made with local actors by the NV Java Film Company in and premiered on 31 December 1926 at the Elite and Majestic Theatres in Bandung. The following year, – who had served as a technician and cinematographer for Loetoeng Kasaroeng – released his directorial debut (the second film in the Indies),.

Owing to Loetoeng Kasaroeng 's limited release, Kruger was able to advertise his film as the colony's first. A year later, the second novel to be adapted to film in Indonesia,, was produced. Directors and producers, capitalising on the success of films produced in, China, became involved in the colony's cinema beginning in 1928, when completed. Although the Wongs went on hiatus, other ethnic Chinese became involved in film.

Several Chinese owned start-ups are recorded from 1929 on, including Nancing Film with (1928) and with (1929). By the early 1930s Chinese-owned businesses were the dominating force in the country's film industry. After the reached the Indies, production slowed tremendously: the Dutch East Indies government collected higher taxes and cinemas sold tickets at lower prices, ensuring that there was a very low for local films. As a result, cinemas in the colony mainly showed productions, while the domestic industry decayed., who had made his debut in 1931 with, was the only producer able to release films during 1934 and early 1935: his low budget but popular films were mainly inspired by or martial arts, and although aimed at ethnic Chinese proved popular among because of their action sequences. Poster for, one of three films credited with reviving the Indies' failing film industry In an attempt to show that locally produced, well-made films could be profitable, the Dutch journalist, who had no formal film experience, produced in 1935 in collaboration with Nelson Wong and his brothers.

Though the film, costing 20 times as much as most contemporary productions, was an ultimately failure, it affected The Teng Chun's directorial style; the latter took less traditional stories. Balink's next attempt,, was released two years later.

Unlike Pareh, Terang Boelan was a marked commercial success, earning 200,000 (then equivalent to 114,470 ) in two months. These two films are, according to American visual anthropologist, Indonesia's most important films of the 1930s. The triple successes of Terang Boelan, (1938), and (1939) revived the domestic film industry. Four new were established in 1940, and actors and actresses previously attached to theatrical troupes entered the film industry, which was reaching new audiences.

The new works, fourteen in 1940 and thirty in 1941, generally followed the formula established by Terang Boelan: songs, beautiful scenery and romance. Others, such as, attempted to reach the growing intelligentsia by drawing journalists or figures from the into cinema. Japanese occupation [ ] After its genesis during the, the Indonesian film industry was coopted by the during the as a tool. The first thing the Japanese did was to halt all film production in Indonesia. Then the Office of Cultural Enlightenment ( 啓民文化指導所) headed by Ishimoto Tokichi appropriated facilities from all filmmaking organisations consolidating them into a single studio which became the Jakarta branch of The Japan Film Corporation ( 日本映画社) or Nichi'ei.

The majority of films made in Indonesia under the Japanese were educational films and newsreels produced for audiences in Japan. The Jakarta branch was strategically placed at the extreme southern end of Japan's empire and soon became a centre of newsreel production in that region. Popular news serials such as News from the South and Berita Film di Djawa were produced here. Japanese newsreels promoted such topics as conscripted ' labourers ( ロムシャの生活, 1944), voluntary enlistment into the imperial Japanese Army ( 南の願望, 1944), and Japanese language acquisition by Indonesian children ( ニッポン語競技会, 1944).

The great victory in Japan's occupation of the Indonesian film industry did not lie in financial gain. Local Japanese-sponsored film production (other than newsreels) remained essentially negligible and the domestic exhibition market was too underdeveloped to be financially viable. However, Nichi'ei's occupation of the Indonesian film industry was a strategic victory over the West, demonstrating that a non-Western Asian nation could displace Hollywood and the Dutch. Indonesia was one of the last areas in the empire to surrender and many who worked at Nichi'ei stayed on after defeat to work for Indonesian independence from the Dutch. Korean director Hae Yeong (aka Hinatsu Eitaro) was one such person who migrated to Java from Korea in 1945 where he made the controversial 'documentary' Calling Australia ( 豪州の呼び声, 1944). After the war, Hae changed his name to Dr. Huyung, married an Indonesian woman with whom he had two sons, and directed three films before his death in 1952, Between Sky and Earth (1951), Gladis Olah Raga (1951), and Bunga Rumar Makan (1952).

Calling Australia was commissioned by the Imperial Japanese Army and depicted Japanese prisoner of war camps as if they were country clubs showing prisoners feasting on steak and beer, swimming, and playing sports. After the war, the film caused such a stir that The Netherlands Indies Film Unit rushed into production Nippon Presents which used some of the P.O.W.s from Calling Australia to expose that film as Japanese lies. In 1987, Australian filmmaker Graham Shirley assembled the remaining survivors to make yet another documentary about how both regimes had conspired to exploit the prisoners each for their own purposes. After independence [ ]. Former cinema ( ca.

1960-80), today Cinema Metropole XXI. After independence, the government used it for, anti- purposes. Foreign film imports were banned. After the overthrow of Sukarno by 's regime, films were regulated through a code that aimed to maintain the social order and regime grip on soceity., a director from made a major imprint in Indonesian film in the 1950s and 1960s. 1980s [ ] The industry reached its peak in the 1980s, with such successful films as Naga Bonar (1987) and Catatan Si Boy (1989). Comedy films, directed by also proved to be successful.

The industry has also found appeal among teens with such fare as Pintar-pintar Bodoh (1982), and Maju Kena Mundur Kena (1984). Actors during this era included,, Lidya Kandou, Onky Alexander, Meriam Bellina,, and Paramitha Rusady. The film (1988) winning 9 at the 1988.

It was also the first Indonesian movie chosen for screening at the, where it was awarded Best International Film in 1989. 1990s [ ] However, by the 1990s imports of foreign films resumed, and the artistic quality of Indonesian films was reduced due to competition, especially from the and. The number of movies produced decreased significantly, from 115 movies in 1990 to just 37 in 1993. Rampant and also contributed to the degradation of Indonesian cinema.

In decade, Indonesian cinema was dominated by serial electronic cinema ( sinetron). Multivision Plus under Raam Punjabi, controlled one of many cinema companies who produced sinetron. The majority of films produced were exploitive, adult-themed shown in budget cinemas and or or television. In 1996, 33 films were made in Indonesia, with majority of the films produced were filled with adult-themed content, and later on decreased significantly. Only seven domestic films were made in 1999.

2000s [ ] Under the movement of the post-Suharto era, was a rebirth of the filming industry in Indonesia, where films started addressing topics which were previously banned such as religion, race, love and other topics. In 2002, the domestic films made increased from only 6 in 2000 and 2001, to 10 films, and as the years passed on, the domestic films made increased significantly. Recent notable films include directed by in 2002, Eliana Eliana, directed by, and starring, which was released in 2005,, Indonesia's first was released. That same year ( dir.

), based on a biopic of Indonesian activist, was also released. The release of Ayat-ayat Cinta ( Verses of Love), directed by, attracted one segment of audience like never before in the Indonesian filming. The melodramatic story did not give new approaches to cinematic storytelling but the crossover between Islam and modern-romance story has succeeded in getting Muslim's around the country to lure the cinemas. In 2009, Infinite FrameWorks released their first full-length animation movie, Sing to the Dawn ('Meraih Mimpi' in Indonesian). The movie itself is almost Indonesian-made since some of top members are foreigners. However, all artists and dubbers are Indonesian and most of the dubbers are top celebrities (like Gita Gutawa, Surya Saputra, Patton, etc.).

2010s [ ] In 2010-2011, due to the substantial increase in value added tax applied to foreign films, cinemas no longer have access to many foreign films, including Oscar-winning films. Foreign films include major box offices from the west, and other major film producers of the world. This has caused a massive ripple effect on the country's economy. It is assumed that this increases purchase of unlicensed DVDs. However, even copyright violating DVDs now take longer to obtain. The minimum cost to view a foreign film not screened locally, is 1 million Rupiah.

This is equivalent to US$100, as it includes a plane ticket to Singapore. The Indonesian film market is in the C, D, E classes, and due to this, foreign porn stars such as,,, and have been invited to play a part in movies. Most locally made movies are low-budget horror films. Locally made film quality has gone up in 2012, this is attested by the international release of films such as, Modus Anomali, Dilema, Lovely Man,, etc. Film festivals [ ] The major of Indonesia is the (JiFFest) held every year in December since 1998.

The eighth festival began on 8 December 2006 with, a film starring and. The 9th JiFFest was held on 7–16 December 2007. Also hosted film festivals such as the 52nd Asia-Pacific Film Festival(APFF) on 18–22 November 2008 Another event is the (Festival Film Indonesia/FFI), which has been held intermittently since 1955. From 1973 to 1992, the festival was held annually and then discontinued until it was later revived in 2004. It hosts a competition, which hands out the.

Movie theatres [ ] The largest chain in Indonesia is, which has cinemas spread throughout thirty cities on the islands of,,,,,, and. It has 3 separate brands, namely Cinema 21, Cinema XXI and The Premiere to target different markets. Since 2012, Cinema 21 outlets are gradually being renovated to become Cinema XXI. However, many smaller independent cinemas also exist, such as BES Cinema, Surya Yudha Cinema, and Dakota Cinema. Another cinema chain is opened, which opened its first location in 2006.

In 2017, the brand name is change to, which has already opened 38 theaters with more than 200 screens across Indonesia. Its Megaplex at in Jakarta, is dubbed Indonesia's largest cineplex by the. Cinemaxx opened its first cinema at on August 17, 2014. Cinemaxx is launched by Lippo Group, which currently operates more than 150 screens in Indonesia. It expects to open 300 cineplexes with 2,000 screens spread across 85 cities in the next ten years. In May 2017, Agung Sedayu Group opened FLIX Cinema, with its first outlet at PIK Avenue, North Jakarta.

Three months later, it opened its second outlet at Grand Galaxy Park, Bekasi. It plans to open outlets at District 8 Shopping Centre, South Jakarta and Mall of Indonesia, North Jakarta (replacing CGV). Bibliography [ ] • A to Z about Indonesian Film, Ekky Imanjaya (Bandung: Mizan, 2006). • Katalog Film Indonesia 1926-2005, JB Kristanto (Jakarta: Nalar, 2006). See also [ ] • • • • References [ ]. UNESCO Institute for Statistics. Retrieved 5 November 2013.

UNESCO Institute for Statistics. Retrieved 5 November 2013. UNESCO Institute for Statistics.

Retrieved 5 November 2013. The Hollywood Reporter. Retrieved 9 November 2013. • ^, pp. 33–35. • Robertson, Patrick (September 1993). The Guinness Book of Movie Facts & Feats. Abbeville Press..

•, pp. 60–61. •, pp. 380–381.

•, pp. 147–150. •, pp. 160–162.

• Heider, Karl G. U of Hawaii P.

Retrieved 23 July 2012. •, p. 380–383. •, p. 25;, p. 25. • Baskett, Michael (2008).. • ^, The Attractive Empire. • ^ Sen, Krishna (2006). Giecko, Anne Tereska, ed.

Contemporary Asian Cinema, Indonesia: Screening a Nation in the Post-New Order. Oxford/New York: Berg.

• ^ Kristianto, JB (2 July 2005). (in Indonesian). Archived from on 13 January 2008. Retrieved 31 October 2016. • • Sasono, Eric (4 April 2008).. Archived from on 19 July 2013. 21 February 2011.

Archived from on 23 September 2012. Retrieved 31 October 2016. • Belford, Aubrey (28 March 2011)... Retrieved 31 October 2016. • Bradshaw, Peter (17 May 2012).. Retrieved 7 February 2017 – via The Guardian. The Jakarta Globe.

Retrieved 2017-06-09. The Jakarta Globe. Retrieved 2017-06-09. Works cited [ ]. Encyclopedia of Jakarta (in Indonesian). Jakarta City Government.

Archived from on 24 July 2012. Retrieved 24 July 2012. [ History of Film 1900–1950: Making Films in Java] (in Indonesian). Jakarta: Komunitas Bamboo working with the Jakarta Art Council.. The New York Times. Retrieved 24 November 2012. (subscription required) •.

Encyclopedia of Jakarta (in Indonesian). Jakarta: Jakarta City Government. Archived from on 21 August 2012. Retrieved 21 August 2012. • Said, Salim (1982).

Profil Dunia Film Indonesia [ Profile of Indonesian Cinema] (in Indonesian). Jakarta: Grafiti Pers.. • Woodrich, Chris (2014). (Master of Arts thesis).

Gadjah Mada University. External links [ ] • at the • • – Indonesian movie-theater chain • - Indonesian multiplex chain • • • - social change film online from Indonesia and the Asia-Pacific • - Resource of Indonesian Film, in Indonesian Language • - Online version of JB Kristanto's film catalogue and article archive on Indonesian Films, in Indonesian Language.