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Film history
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1. How did the advent of home video technologies change the American film industry? In what ways did the studios—who in 1976 regarded home video as a competitor—exploit these technologies to their advantage? In the1960’s recording a consumer version of a videotape was a very costly venture, with the likes of companies companies like Ampex putting it on offer for 30,000 dollars in 1963. In the year 1969, Sony invented the Video Cassette Recorder which was later replaced with a more enhanced U-Matic which was introduced in 1972. The AVCO Cartri Vision System was the first to use prerecorded tapes of the famous movie used for sales and rental purposes.an year later the company went bankrupt this was precipitated by the invention of Sony’s Beta max the first’s Home Video Recorder which was very cheap and was retailing at a price of two thousand dollars compared to Ampex one. They recorded a high sales returns that year which brought major developments in the film industry

2. How did the policies of "synergy" and "high concept" transform American film industry structure in the 1980s and 1990s? What kinds of films resulted from these policies and in what ways did distributors and exhibitors try to profit from such films?

High-concept and synergy have TV series pictures and films and flicks, that typically accept pre-sold elements like movie stars so as to make audience anticipation, and at times may use cross promotional advertising advertisements with links to an audio recording, music videos, and authorized merchandise like videodisc box sets. They normally apply market and check screening feedback to change the narrative to enhance quality. Some of the industrial blockbuster motion pictures are created as star vehicles for prosperous music and sports personalities to enter the movie industry. In such industrial vehicles, wherever the onscreen activity is a smaller amount necessary than the stability of the merchandise complete, a high-concept narrative is usually used as a safe measure so as to avoid the chance of antagonistic audiences with a convoluted or too heavy plot exposition. A good example is the series Star Trek which went on the far side the high-concept storytelling of a futurist ballistic capsule crew, by addressing twentieth century social problems during a theoretic and familiarizing context. Extreme samples of high-concept films area unit Snakes on a Plane and drifter with a scatter gun

3. What is "intensified continuity"? In what ways does this system of formal conventions depart from the classical continuity style of Hollywood film making?

Intensified continuity can be defined the as capturing of any action or dialogue from various angles and the use of different views. This may include the average length of each segment in a film, more extreme focal lengths that are used on film shooting, and the close framing of scenes and increased movement of cameras and all the recording instruments.so as to bring on board more reality and clarity in the films. In the 1970’s film directors used split-focus that used the theme of placing one plane in focus in one part of the picture and a different plane in focus in the other half part of the picture thus increasing the depth of the field of the film.

4. What factors enabled independent films to proliferate from the 1980s to the 2000s? Identify the various support systems that emerged to support independent production, and identify and describe the four major trends of independent film making.

The independent film development has been made possible through wide range of things, cupped with the event of cheap digital picture taking cameras which will rival 35 millimeter film quality and easy-to-use computer editing software systems. Not until digital alternatives became accessible, that the value of professional film instrumentation and stock was a serious obstacle to independent filmmakers who wanted to create their own films. In 20th century, the retail price of a thirty-five millimeter film stock went up twenty third, in tan damn with selection. With the invention of client camcorders in 1985, and the introduction of digital video within the early 90’s helped to lower the technology barrier to picture show production. The non-public computer and non-linear redaction system have aided in reducing the prices of post-production, whereas technologies like video disk, Blu-ray Disc and on-line video services have made distribution easier. Even with the introduction of 3-D technology on the market it is still very inexpensive, to independent filmmakers.

5. In what sense has the digital revolution actually preserved the viability of shooting films on film? How have filmmakers managed to integrate the options provided by digital video with a technological apparatus that dates back more than a century?

Digital revolution is a concept which has been widely used by the film industry in the preservation of viability of shooting films since they posses high encryption ability of preservation of data and the removal of errors. It has become very common to explain film photography as analogue, so to help differentiate it from photography. analogue refers to an indication wherever the output is proportional to the input. A lightweight meter can be used as an example of associate degree analog instrument.

Lightweight falling on a photo conductive cell generates associate degree electrical current that moves a needle across a scale, the brighter the sunshine, the larger the movement. The sensing element during a camera is typically analog. Each of the various countless pixels that frame the sensing element could be a photosensitive photo-conductive cell that generates a little electrical current in response to lightweight. The more brighter the sunshine, the more stronger the present, digital solely comes into play once the brightness levels area unit coded into the pure binary numeration system [which is the language of computers] to make a picture file.

6. What is at stake with the ongoing move towards digital forms of exhibition? Identify the benefits of digital projection for both theaters and studios, and explain why the roll out of d-cinema in the United States has taken so long, despite early optimism for a quick conversion.

Digital cinemas are shown and managed in the theaters by unskilled labor with the least training due to the management terminal that is PC-based thus making it easy to handle, unlike the analog film that are primarily based cinemas, that require skilled personnel for prepping, dismantling, receiving, showing, and returning the show tape films. The distribution of digital cinema’s ,electronically via world wide web, satellites or even hard disks, which are less complicated, quick and in-expensive than the time taken and the price incurred for the shipping and handling of significant film tapes. Piracy can be effectively minimized through strong copy protection, encoding and water marking processes for digital cinemas. The possible use of a replacement anti-piracy technology are higher in the digital format. A wide range of tools are accessible for introducing computer graphics in digital cinema.

As a matter of fact, the scenes can be developed through the absolute exploitation of special effects or animation in the computers. The spreading out has been hindered due to the high cost involved in the program as well as the perception of people who still hold the view that analogue version is the best.

7. What does "convergence" mean in relation to digital media? What does it mean to experience a film via several different "platforms"? Evaluate the effectiveness of the studios' efforts in the new century to incorporate innovations in DVD, Internet, and videogame technology into their business.

Convergence is the notion that due to the progression of technology numerous differing aspects of media, e.g Television, Newspaper Radio, and Computer, can be combined into one media. For example, both the television and engineering industries continue progressively changing into a possible identical aspect. Websites that have video on them and also the web is a an important part of the supply of most broadcasters. Computer networks and Computers themselves have imminently permitted television to supply video-on-demand services shifting from the ancient linear or scheduled television. Also the web has become a vital tool to newspaper publishers. It is however hard to keep up with the ever changing media that provides news in seconds once you gift yesterday's news tomorrow on a sheet of paper. Consequently, many newspapers have begun to think about manufacturing web offerings. Progressively as technology improves, these additionally supply video services - a move onto the turf of the standard broadcasters. The enhancements in mobile technology have additionally allowed lots of those services to be delivered to mobile devices yet conveyance the operators of mobile networks into this convergence.

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