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“Fame once attained can seldom be held- unless early death makes it immortal” (Runcie).The art of filmmaking and the whole idea of entertainment has changed dramatically through the years. Movies have ranged from dramatic expressions and the over the top scenes to portraying  life more realistically. The industry of entertainment with all it’s coups and defeats has come together from silent movies, the starting point of its success technologically and creatively taking cinematic experience to a whole new level.

Hollywood cinema also produces its own realities on the big screen. As Cecil B. De Mille. Goldfish and Samuel Goldfish claimed during the production of the first motion picture, “when real life doesn’t fit a preconceived image, create another reality” (xi). Since that 1913 statement, Hollywood has fostered this type of reality-making that results into an escape for its audiences. Aside from the physical escape of traveling to the movies or Blockbuster in order to view these films, audiences are also invested in the characters they view on screen. However, Webb informs the public that “what appears on the screen is a stylized version of real life (or a plausible vision of imaginary worlds) that is made possible by the prolonged collaborative effort of hundreds, working in support of a celebrated few” (3). The “reality” of the cinema lies in producers, directors, actors, back-lots, etc. involved in its creation rather

“The point of theatre is transformation: to make an extraordinary event out of ordinary material right in front of an audience 's eyes. Where the germ of the idea came from is pretty much irrelevant. What matters to every theatre maker, I know, is speaking clearly to the audience 'right now. '” This quote by English playwright and screenwriter, Lee Hall, from an essay he published in the Times of London, is central to the connection between theatre and motion picture technology. Since the rise of film in the early twentieth century, these elements have been influencing each other, and working together, to elevate the storytelling and experience of each medium and, in turn, better connecting them to the modern audience. The collaboration of these two mediums has resulted in a new form of theatre, known as digital theatre, that shows “theatrical entertainment does not have to be either purist (involving only ‘live’ actors on stage), or be consumed by the dominant televisual mass media, but can gain from the strengths of both types of communication.”(Masura). Throughout this paper, the intersection of theatre and motion picture technology will be explored through their effect on each other, in storytelling and experience, and the product of their collaboration—digital theatre.

In the early 1900’s silent films amazed audiences with images, later talkies impressed with sound, today we have 3D. As technology continues to evolve so too will film genres. Genres, while having some shared characteristics, also differ in terms of stylistic devices used. For instance, the dramatic film “The Notebook” effectively uses color to reinforce theme and has plausible performers as the two main protagonists.

Problem Set 1 is to be completed by 11:59 p.m. (ET) on Monday of Module/Week 2.

The line between television and the Internet seems to be growing more and more blurred as networks and producers learn to adapt to using online media to grow and capture new audiences. A recent article, “Chris Hardwick, King of the Nerds Is Expanding His Empire” by Lorne Manly in the New York Times features a profile of entertainer Chris Hardwick, who is described as the “model of an entertainment brand for a multiscreen generation” (Manly, par. 5). As a fan of both Chris Hardwick and of geek culture, I found this article to be a fascinating profile of how savvy use of media can allow performers to reach a much wider audience than television alone.

One of cinema's most unexpected, artistically fertile iterations in the 21st century is the viral video, a Warholian flash of lightning: brief, often concept-less, zigzagging across the globe on bright computer/phone screens, and then, just as quickly, vanishing from relevance. This new medium's Meliesian pioneer is a mercurial figure whose fifteen minutes of fame has miraculously protracted into a decade's-worth of cultish, vaudevillian mini-movies; their deranged comedy, hot-topic commentary, and punning, shade-infused manifestoes of give-no-fucks self-reliance are devotedly watched and shared by a small legion of loyal fans. When Chris Crocker, frail, snaggletoothed, lachrymose, uploaded a wailing defense of Britney Spears onto YouTube during

Such a combination was unconventional and some critics found it appalling. For instance, according to Peter Rainer of the New York Magazine states, “I am not, as a rule, a big fan of this movie-as-big-screen-computer game trend.” Rainer before trying to evaluate what the film is truly saying, establishes that it is his own rule that he is not into films which take this approach to film production. Rainer, just like many other critics failed to give the film a fair shot at a true critique. This is partially due to personal preferences, which in the case of Rainer had to do with his dislike of “big-screen-computer game trend”.

During the spring break, I watched Steven Spielberg’s Ready Player One at the Balboa Theater, a long-standing independent cinema that first opened its doors in 1926. Given the theater’s decor and screening of Hollywood blockbusters and indie films, I think the viewing of Ready Player One, a delightful mashup of 80’s pop culture, was enhanced quite well by the cinema’s atmosphere. The theatre appears antique, moreso like a theater that holds plays and musicals, but one that appeals to a film buff or younger, hipper generation. This is in part due to its brown floral styled carpet, old arcade games, outdated photobooth, and classic film posters spread on the wall. Everything was fresh and new to me, as I never attend independent theaters.

This commonly accepted narrative is reflected in so many movies since the financial crisis that Michael Pepe argues that it has formed a genre of its own, stylized with very distinct characters and a clear message: "And so when popular films

Each of these movies either invert or corrupt the image of Hollywood and “the Industry” creating a unique audiovisual experience, in an environment familiar to those who work in the industry, and the audience that watches and follows.

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The franchise has been around for so long that people who are new to online gaming may be drawn to to both the new and older movies. New movies that are released means new casino games will also be available. This means that newer generations will need a casino game that is fun and entertaining.

It makes an important distinction between unrealistic expectations and experiences. Most of the audience is in a need to willingly suspend themselves from the outside world whilst watching a film. Similarly, Rick Altman argues in his piece A Semantic/Syntactic Approach to Film Genre, that the audience attribute to the ultimate authorship, whilst the studios simply serve it, for a price (Altman, 2012). In Altman’s genre approach, he distinguishes two different approaches in his theory. The first, that there is a ritual approach by Hollywood, that produces films that audience can identify with e.g. their preferences. With a similar ideology as Grant, Altman highlights the role of the audience in perpetuating stereotypes in genre films. Altman’s second approach outlines an ideological approach in which he demonstrates how audiences are manipulated by the business and political interests of Hollywood: ‘’that it characterizes each individual genre as a specific type of lie, an untruth whose most characteristic feature is its ability to masquerade as truth’’ (Altman, 2012). He defines the ideological approach as ‘Hollywood taking advantage of spectator’s energy and psychic investment in order to lure the audience into Hollywood’s own positions’ (Altman,

According to film theorist Thomas Schatz, “a genre approach (to film) provides the most effective means for understanding, analyzing, and appreciating the Hollywood cinema (Schatz vii).” His approach to film is strongly supported by theorist Edward Branigan’s and the narrative representation of character interaction (Branigan), and André Bazin’s arguments that the objective reality pressed against audience interpretation.