د "فلم" د بڼو تر مېنځ توپير

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{{World Cinema}}

 

Preceding film by thousands of years, [[Play (theatre)|plays]] and [[dances]] had elements common to film: [[Script (performing arts)|scripts]], [[Set construction|sets]], [[costumes]], [[Filmmaking#Production|production]], [[Film director|direction]], [[actors]], [[audiences]], [[storyboards]], and [[scores]]. Much terminology later used in film theory and criticism applied, such as [[mise en scene]] (roughly, the entire visual picture at any one time). Moving visual and aural images were not recorded for replaying as in film.

 

The [[camera obscura]] was pioneered by [[Alhazen]] in his ''[[Book of Optics]]'' (1021),<ref name=Wade>{{Citation |last=Wade |first=Nicholas J. |last2=Finger |first2=Stanley |year=2001 |title=The eye as an optical instrument: from camera obscura to Helmholtz's perspective |journal=Perception |volume=30 |issue=10 |pages=1157–1177 |doi=10.1068/p3210 |quote=The principles of the camera obscura first began to be correctly analysed in the eleventh century, when they were outlined by Ibn al-Haytham.}}</ref><ref name=Kelley>David H. Kelley, [http://books.google.com/books?id=zNkgyyPr7kwC&pg=PA83&dq=%22book+of+optics%22+alhazen&sig=5JaW0lvoMQ_agCqQt9eHXltUh5g Exploring Ancient Skies: An Encyclopedic Survey of Archaeoastronomy]:

 

In the 1860s, mechanisms for producing two-dimensional drawings in motion were demonstrated with devices such as the [[zoetrope]], [[mutoscope]] and [[praxinoscope]]. These machines were outgrowths of simple optical devices (such as [[magic lantern]]s) and would display sequences of still pictures at sufficient speed for the images on the pictures to appear to be moving, a phenomenon called [[persistence of vision]]. Naturally the images needed to be carefully designed to achieve the desired effect, and the underlying principle became the basis for the development of film [[animation]].

 

With the development of [[celluloid]] film for still [[photography]], it became possible to directly capture objects in motion in real time. An 1878 experiment by [[Eadweard Muybridge]] in the United States using 24 cameras produced a series of stereoscopic images of a galloping horse, arguably the first "motion picture," though it was not called by this name. This technology required a person to look into a viewing machine to see the pictures which were separate paper prints attached to a drum turned by a handcrank. The pictures were shown at a variable speed of about 5 to 10 pictures per second, depending on how rapidly the crank was turned. Commercial versions of these machines were coin operated.

 

By the 1880s the development of the [[Movie camera|motion picture camera]] allowed the individual component images to be captured and stored on a single [[reel]], and led quickly to the development of a [[movie projector|motion picture projector]] to shine light through the processed and printed film and magnify these "moving picture shows" onto a screen for an entire audience. These reels, so exhibited, came to be known as "motion pictures". Early motion pictures were static [[Shot (filming)|shots]] that showed an event or action with no [[Film editing|editing]] or other cinematic techniques.

 

Ignoring Dickson's early sound experiments (1894), commercial motion pictures were purely [[visual arts|visual art]] through the late 19th century, but these innovative [[silent film]]s had gained a hold on the public imagination. Around the turn of the twentieth century, films began developing a narrative structure by stringing [[Scene (filming)|scenes]] together to tell [[narrative]]s. The scenes were later broken up into multiple shots of varying sizes and angles. Other techniques such as camera movement were realized as effective ways to portray a story on film. Rather than leave the audience in silence, theater owners would hire a [[piano|pianist]] or [[organ (music)|organist]] or a full [[orchestra]] to play music fitting the mood of the film at any given moment. By the early 1920s, most films came with a prepared list of sheet music for this purpose, with complete [[film score]]s being composed for major productions.

 

The rise of European cinema was interrupted by the outbreak of [[World War I]] when the film industry in United States flourished with the rise of [[Hollywood]], typified most prominently by the great innovative work of [[D.W. Griffith]] in The Birth of a Nation (1914) and Intolerance (1916) . However in the 1920s, European filmmakers such as [[Sergei Eisenstein]], [[Friedrich Wilhelm Murnau|F. W. Murnau]], and [[Fritz Lang]],in many ways inspired by the meteoric war-time progress of film through Griffith, along with the contributions of [[Charles Chaplin]], [[Buster Keaton]] and others, quickly caught up with American film-making and continued to further advance the medium. In the 1920s, new technology allowed filmmakers to attach to each film a [[soundtrack]] of speech, music and [[sound effects]] synchronized with the action on the screen. These [[sound film]]s were initially distinguished by calling them "talking pictures", or ''talkies''.

Since the decline of the [[studio system]] in the 1960s, the succeeding decades saw changes in the production and style of film. Various New Wave movements (including the [[French New Wave]], [[Parallel Cinema|Indian New Wave]], [[Japanese New Wave]] and [[New Hollywood]]) and the rise of film school educated independent filmmakers were all part of the changes the medium experienced in the latter half of the 20th century. Digital technology has been the driving force in change throughout the 1990s and into the 21st century.

 

 

 

Film theory seeks to develop concise and systematic concepts that apply to the study of film as [[art]]. It was started by [[Ricciotto Canudo]]'s ''The Birth of the Sixth Art''. Formalist film theory, led by [[Rudolf Arnheim]], [[Béla Balázs]], and [[Siegfried Kracauer]], emphasized how film differed from reality, and thus could be considered a valid fine art. [[André Bazin]] 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 [[Jacques Lacan]]'s psychoanalysis and [[Ferdinand de Saussure]]'s [[semiotics]] among other things has given rise to [[psychoanalytical film theory]], [[structuralist film theory]], [[feminist film theory]] and others. On the other hand, critics from the [[analytical philosophy]] tradition, influenced by [[Wittgenstein]], try to clarify misconceptions used in theoretical studies and produce analysis of a film's vocabulary and its link to a [[Form of life (philosophy)|form of life]].

 

Film is considered to have its own [[language]]. [[James Monaco]] wrote a classic text on film theory titled "''How to '''Read''' a Film''". Director [[Ingmar Bergman]] famously said, "''[Andrei] [[Andrei Tarkovsky|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.

 

 

 

Parallels to musical counterpoint have been developed into a theory of montage, extended from the complex superimposition of images in early silent film{{Fact|date=September 2008}} to even more complex incorporation of musical counterpoint together with visual counterpoint through [[mise en scene]] and [[editing]], as in a [[ballet]] or [[opera]]; e.g., as illustrated in the gang fight scene of director [[Francis Ford Coppola]]’s film, ''[[Rumble Fish]]''.

 

 

 

It is argued that journalist film critics should only be known as film reviewers, and true film critics are those who take a more academic approach to films. This line of work is more often known as [[film theory]] or film studies. These film critics attempt to come to understand how film and filming techniques work, and what effect they have on people. Rather than having their works published in newspapers or appear on television, their articles are published in scholarly journals, or sometimes in up-market magazines. They also tend to be affiliated with colleges or universities.

 

 

 

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

 

{{See|Film history| Film criticism|Film theory|Product placement|Propaganda}}

Derivative academic Fields of study may both interact with and develop independently of filmmaking, as in [[film theory]] and analysis. Fields of academic study have been created that are derivative or dependent on the existence of film, such as [[film criticism]], [[film history]], divisions of film [[propaganda]] in authoritarian governments, or psychological on subliminal effects of a flashing soda can during a screening. These fields may further create derivative fields, such as a [[movie review]] section in a newspaper or a television guide. Sub-industries can [[spin off]] from film, such as popcorn makers, and toys. Sub- industries of pre-existing industries may deal specifically with film, such as [[product placement]] in [[advertising]].

 

{{Unreferenced section|date=March 2009}} {{Globalize|section}} Most people use "film" and "movie" interchangeably {{Fact|date=March 2009}}. "Film" is more often used when considering [[artistic]], [[theoretical]], or [[technology|technical]] aspects, as studies in a university class. "Movies" more often refers to [[entertainment]] or [[Commerce|commercial]] aspects, as where to go for fun on a date. For example, a book titled "How to Read a Film" would be about the aesthetics or theory of film, while "Lets Go to the Movies" would be about the history of entertaining movies. "[[Motion pictures]]” or "Moving pictures" are films and movies. A "[[DVD]]", "[[videotape]]", "[[video]]" or "vid" is a digital reproduction of an analogue film, or a product with all of the elements of an analogue film but made in an electromagnetic storage medium. "Film" refers to the media onto which a visual art is shot, and to this end it may seem improper for a digital originating work to be referred to as a "film" and the action of shooting as "filming," and yet these terms are still used. "[[Silent films]]" need not be silent, but are films and movies without an audible dialogue, though they may have a musical soundtrack. "[[Talkies]]" refers to early movies or films having [[Hearing (sense)|audible]] [[dialogue]] or analogue sound, not just a musical accompaniment. "[[Cinema (disambiguation)|Cinema]]" either broadly encompasses both films and movies, or is roughly synonymous with “Film”, both capitalized when referring to a category of art. The "[[silver screen]]" refers to classic black and white films before color, not to contemporary films without color.

 

Any film may also have a "[[Sequel]]", which chronologically portrays events following those in the film. Film sequels may even be released first, e.g. [[Star Wars Episode IV]].

 

A preview performance refers to a showing of a movie 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 ([[Audience response]]).

 

{{Main|Film trailer}}

 

Trailers or previews are film advertisements for films that will be exhibited in the future at a cinema, on whose screen they are shown. The term "trailer" comes from their having originally been shown at the end of a film programme. 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 movie in a double feature program) begins.

 

Film may be combined with [[performance art]] and still be considered or referred to as a “film”. For example, when there is a live musical accompaniment to a silent film. Another example is audience participation films, as at a [[midnight movies]] screening of ''[[The Rocky Horror Picture Show]]'', where the audience dresses up in costume from the film and loudly does a [[karaoke]]-like reenactment along with the film. Performance art where film is incorporated as a component is usually not called film, but a film, which could stand-alone but is accompanied by a performance may still be referred to as a film.

 

Similarly, the playing of a film can be considered to fall within the realm of political protest art, as in the subtleties within the films of [[Andrei Tarkovsky|Tarkovsky]]. A "road movie" can refer to a film put together from footage from a long road trip or vacation.

 

{{Main|Education|Propaganda}}

 

The same film may be considered educational by some, and propaganda by others, such as some of the films of [[Michael Moore]].

 

{{Main|Filmmaking}}

 

The bigger the production, the more resources it takes, and the more important [[Film budgeting|financing]] becomes; most feature films are not only artistic works, but for-profit business entities.

 

{{Main|Film crew}}

 

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'' are distinguished from ''cast'', the [[actor]]s who appear in front of the [[camera]] 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 writers and editors. 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. Caterers (known in the film industry as "craft services") are usually not considered part of the crew.

 

[[Film stock]] consists of transparent [[celluloid]], [[acetate]], or [[polyester]] [[film base|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 film|35&nbsp;mm]] prints.

 

Some films in recent decades have been recorded using [[analog (signal)|analog]] [[video]] technology similar to that used in television production. Modern [[Digital video|digital video cameras]] and [[digital projector]]s are gaining ground as well. These approaches are extremely beneficial to moviemakers, especially because footage can be evaluated and edited without waiting for the film stock to be processed. Yet the migration is gradual, and as of 2005 most major motion pictures are still recorded on film.

 

{{Main|Independent film}}

Independent filmmaking often takes place outside of Hollywood, or other major [[studio system]]s. An independent film (or indie film) is a film initially produced without financing or distribution from a [[list of Hollywood movie studios|major movie studio]]. 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 leads 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 [[Warner Bros.]] in 2000 were joint ventures, up from 10% in 1987).<ref name="VARIETY_2003">{{cite web|first=Meredith|last=Amdur|url=http://www.variety.com/index.asp?layout=print_story&articleid=VR1117895718&categoryid=10|title=Sharing Pix is Risky Business|work=[[Variety (magazine)|Variety]]|date=2003-11-16|accessdate=June 23, 2007}}</ref> 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.

 

Since the introduction of [[DV]] technology, the means of production have become more democratized. Filmmakers can conceivably shoot and edit a movie, create and edit the sound and music, and mix the final cut on a 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 film festivals to get their films noticed and sold for distribution. The arrival of internet-based video outlets such as [[YouTube]] and [[Veoh]] has further changed the film making landscape in ways that are still to be determined.

 

{{Main|Open content film}}

 

An open content film is much like an independent film, but it is produced through open collaborations; its source material is available under a [[license]] which is permissive enough to allow other parties to create [[fan fiction]] or derivative works, than a traditional copyright. Like independent filmmaking, open source filmmaking takes place outside of Hollywood, or other major [[studio system]]s.

 

{{Main|Fan film}}

 

A fan film is a film or video inspired by a film, [[television program]], [[comic book]] or a similar source, created by [[fan (aficionado)|fans]] rather than by the source's copyright holders or creators. Fan filmmakers have traditionally been [[amateur]]s, but some of the more notable films have actually been produced by professional filmmakers as film school class projects or as demonstration reels. Fan films vary tremendously in length, from short faux-teaser trailers for non-existent motion pictures to rarer full-length motion pictures.

 

{{Main|Film distribution|Film release}}

 

{{Expand section|optical disc distribution}}

 

{{Main|Animation}}

 

Although most animation studios are now using digital technologies in their productions, there is a specific style of animation that depends on film. Cameraless animation, made famous by moviemakers like [[Norman McLaren]], [[Len Lye]] and [[Stan Brakhage]], is painted and drawn directly onto pieces of film, and then run through a projector.

 

{{Unreferenced section|date=April 2009}}

While motion picture films have been around for more than a century, film is still a relative newcomer in the pantheon of [[fine art]]s. In the 1950s, when television became widely available, industry analysts{{Who|date=April 2009}} predicted the demise of local movie theaters{{Fact|date=April 2009}}. Despite competition from television's increasing technological sophistication over the 1960s and 1970s{{Fact|date=April 2009}}such as the development of color television and large screens, motion picture cinemas continued. In fact with the rise of television's predominance, film began to become more respected as an artistic medium by contrast due the low general opinion of the quality of average television content{{Fact|date=April 2009}}In the 1980s, when the widespread availability of inexpensive videocassette recorders enabled people to select films for home viewing, industry analysts again wrongly predicted the death of the local cinemas.{{Fact|date=April 2009}}

Despite the rise of all new technologies, the development of the home video market and a surge of online copyright infringement, 2007 was a record year in film that showed the highest ever box-office grosses. Many expected film to suffer as a result of the effects listed above but it has flourished, strengthening film studio expectations for the future{{Fact|date=April 2009}}.

 

; Lists

* [[List of film awards]]

* [[Web film]]

 

{{reflist}}

 

{{sisterlinks}}

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* [http://imdb.com/ The Internet Movie Database (IMDb)] - Information on current and historical films and cast listings.

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<font face="Pashto Kror Asiatype">

د افغانستان لومړی فلم نژدې هماغه وخت جوړ شو کوم وخت چې د هندوستان لومړی فلم جوړ شوی وه. لومړنی پښتو افغاني فلم د "عشق او دوستي" په نامه وه. دا فلم هغه وخت جوړ شوی وه په کوم وخت کې چې لا پاکستان نه و جوړ شوی. پدې توګه د افغانستان د فلم تاريخ له نيمې پېړۍ نه هم ډېر زوړ تاريخ لري. همدا لومړنی فلم "عشق او دوستي"، د فلم جوړولو يوې وړې ډلګۍ جوړ کړی وه، دا ډلګۍ د په هغه وخت کې د لنډو تور او سپينو فلمونو ترڅنګ لاسونديز فلمونه هم جوړول. بيا ډېر وخت وروسته په ١٩٦٥ کال کې د لومړي ځل لپاره په کابل کې د افغاني فلم جوړولو شرکت جوړ شو، چې د فلمونو په جوړولو او خپرولو يې لاس پورې کړ.

 

Unfortunately Afghanistan has been deeply caught up in many political crises and these crises have not only struck the ancient history of Afghanistan, or the people of Aghanistan, but it has also had effects on the Afghan Movies. Strict laws were made and enforced on filmmaking by the then government of Afghansitan. The films were considered as just a means to just air their political views and further the government’s purposes and policies. The government used the Afghani Movies as a tool to propagate its own political views and beliefs. The Afghani Movies that were made at that time were a strong echo of the government’s political interests.

 

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