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Portal:Film

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The Film Portal

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Film is a term that encompasses individual motion pictures, the field of film as an art form, and the motion picture industry. Films are produced by recording images from the world with cameras, or by creating images using animation techniques or special effects.

Film is an important art form; films entertain, educate, enlighten, and inspire audiences. The visual elements of cinema need no translation, giving the motion picture a universal power of communication. Films are also artifacts created by specific cultures, which reflect those cultures, and in turn, affect them.

Traditional 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 a combination of physiological and psychological effects. One is 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 also perceive motion due to psychological effects called beta movement and the phi phenomenon.

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; photo-play; flick; and most commonly, movie. Additional terms for the field in general include the big screen; the silver screen; the cinema; and the movies.

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Chavez in 2003
The Revolution Will Not Be Televised is a 2003 documentary focusing on events in Venezuela leading up to and during the April 2002 coup d'état attempt, which saw President Hugo Chávez removed from office for several days. With particular emphasis on the role played by Venezuela's private media, the film examines several key incidents: the protest march and subsequent violence that provided the impetus for Chávez's ousting; the opposition's formation of an interim government headed by business leader Pedro Carmona; and the Carmona administration's collapse, which paved the way for Chávez's return. The Revolution Will Not Be Televised was directed by Irish filmmakers Kim Bartley and Donnacha Ó Briain. Bartley and Ó Briain shot more than 200 hours of material; editing focused on identifying footage that would make the film entertaining and drive the plot. It was at this stage that the film's coverage narrowed to concentrate more on the coup attempt. The film was positively received by mainstream film critics and won several awards. Reviewers cited the filmmakers' unprecedented proximity to key events and praised the film for its "riveting narrative"; criticism focused on its lack of context and pro-Chávez bias. First shown on television in Europe and Venezuela in 2003, The Revolution Will Not Be Televised later appeared at film festivals and secured a limited theatrical release on the art house circuit. The Revolution Will Not Be Televised paints Chávez in a favorable light, which has led to disputes over its neutrality and accuracy; particular attention is paid to its framing of the violence of 11–13 April, the filmmakers' editing of the timeline, and the alleged omission of incidents and personnel. The film is alternately cited as an accurate portrayal or a misrepresentation of the events of April 2002.

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Buster Keaton
Credit: Bain News Service

Buster Keaton (born Joseph Frank Keaton, October 4, 1895 – February 1, 1966) was an American silent film comic actor and filmmaker. His trademark was physical comedy with a stoic, deadpan expression on his face.

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Rudolph Cartier (born Rudolph Katscher; April 17, 1904–June 7, 1994) was an Austrian television director who worked predominantly in British television, exclusively for the BBC. He is best known for his 1950s collaborations with screenwriter Nigel Kneale, most notably the Quatermass serials and their 1954 adaptation of George Orwell's novel Nineteen Eighty-Four. After studying architecture and then drama, Cartier's initial career was as a screenwriter and then film director in Berlin, working for UFA Studios. After a brief spell in the United States he moved to the United Kingdom in the 1930s, and began working for BBC Television in 1952. He went on to produce and direct over 120 productions in the next 24 years, ending his television career with the play Loyalties in 1976. Active in both dramatic programming and opera, Cartier won the equivalent of a BAFTA in 1957 for his work in the former, and one of his operatic productions was given an award at the 1962 Salzburg Festival. The British Film Institute's "Screenonline" website describes him as "a true pioneer of television," while the critic Peter Black once wrote that: "Nobody was within a mile of Rudolph Cartier in the trick of making a picture on a TV screen seem as wide and as deep as CinemaScope."

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Vittorio Storaro
Vittorio Storaro is an Academy Award-winning Italian cinematographer, and member of the American Society of Cinematographers (ASC) and Italian Society of Cinematographers (AIC). Storaro's early films were made in his homeland of Italy, where he began early collaborations with Italian director Bernardo Bertolucci, with whom he has continued to collaborate with throughout his career. Storaro and Bertolucci's first major project was the 1970 film The Conformist, based on the Italian novel of the same name. Storaro's first American film was Apocalypse Now, directed by Francis Ford Coppola. Storaro won an Academy Award for his work on the film, followed by two more Oscars for his work on Reds and The Last Emperor, and a nomination for Dick Tracy. Storaro also acted as cinematographer on films such as Last Tango in Paris, Ishtar, Bulworth, and Exorcist: The Beginning. In addition to Bertolucci and Copolla, Storaro has worked with directors such as Richard Donner, Warren Beatty, and Carlos Saura. Throughout his career, Storaro has been nominated for and won many awards for his work as a cinematographer, including a Lifetime Achievement Award from the American Society of Cinematographers.

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Robert Redford
Whereas money is a means to an end for a filmmaker, to the corporate mind money is the start. Right now, I think independent film is very confused, because there's excess pressure in the marketplace for entertainment to pay off. Entertainment has pervaded every system of information in our culture, and along with it comes the promise of money. So it's hard for artists not to keep half an eye on what works commercially as they go about realizing their visions. As a young filmmaker, you've got to deliver, and you've got to deliver fast these days; that wasn't the case twenty years ago.
Robert Redford, 1997

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Film

Terms - Animation • Beta movement • Camera • Cult film • Digital cinema • Documentary film • Dubbing • Experimental film • Fan film • Film crew • Film criticism • Film festival • Film frame • Film genre • Film journals and magazines • Film industry • Film manifesto • Film stock • Film theory • Filmmaking • History of film • Independent film • Lost film • Movie star • Narrative film • Open content film • Persistence of vision • Photographic film • Propaganda • Recording medium • Special effect • Subtitles • Sound stage • Web film • World cinema

Lists - List of basic film topics • List of film topics • List of films • List of film festivals • List of film formats • List of film series • List of film techniques • List of highest-grossing films • List of longest films by running time • List of songs based on a film or book • Lists of film source material • List of open content films

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