The On Film Business With The Appellation

What were Edwin S. Porter's significant contributions to the development of early narrative film? In what sense did Porter build upon the innovations of contemporaneous filmmakers, and for what purposes?

In “A Century of Cinema”, Susan Sontag explains how cinema was cherished by those who enjoyed what cinema offered. Cinema was unlike anything else, it was entertainment that had the audience feeling apart of the film. However, as the years went by, the special feeling regarding cinema went away as those who admired cinema wanted to help expand the experience.

“The Fall of the Female Protagonist in Kids’ movies” by Stefan Babich explains the role of

Although the best reasons for “going to the movies” are to be entertained and eat popcorn, understanding a film is actually quite complex. Movies are not only a reflection of life, they also have the capability of shaping our norms, values, attitudes, and perception of life. Through the media of film, one can find stories of practically anything imaginable and some things unimaginable. Movie-makers use their art to entertain, to promote political agendas, to educate, and to present life as it is, was, or could be. They can present truth, truth as they interpret it, or simply ignore truth altogether. A movie can be a work of fiction, non-fiction, or anything in-between. A film is an artist’s interpretation. What one takes away from a film depends upon how one interprets what has been seen and heard. Understanding film is indeed difficult.

“I’m going to make a name for myself. If I fail, you will never hear of me again” Edward James Muggeridge. True to his words he succeeded in making a name for himself and he created the first movie or “motion picture”. Movies are a rollercoaster ride that transcends people into a whole different world fresh out of somebody’s imagination as seen through the genres of horror, drama, and science fiction. The movie business allows people to break through the burden of everyday life. Considering today’s way of life, people would be lying if they did not admit that movies are an influential entity in our culture. Movies have been successful in ingraining values and elements into society. Movies exaggerate, sensationalize and at

The goal of the film community is to make films. Things taught in the classroom are necessary, but are standard. Things taught in lecture are meant to make us better at watching films, which, of course, makes us better at making films, but indirectly. For example, a lecture is usually followed by an academic article on some aspect of that day’s topic. The article “Graphic Violence in the Cinema” by Stephen Price was assigned to be read after the class had watched two horror films with plenty of gore. This piece analyzes the history of gore and violence in film and the escalation of it in films over time. This worked to give more context to the violence we had been watching in class. This article, along with several others, help to teach the class about the history and the current state of cinema, preparing us for the outside filmmaking world that awaits our arrival. These fundamentals taught in lecture make the film class a discourse community, but they don’t make it a strong one. Any discourse community has a bedrock foundation of lectures and some group work. But

The Australian film industry is currently in a point of crisis due to the lack of audiences attending Australian films, hence creating a decline in the revenue received towards our national industry. However, this is not due to the lack of creative talent, it is rather the many underlying issues that don?t allow the Australian public with the awareness and accessibility of these films. These problems are within the distribution, marketing and funding of these Australian films, allowing the national Australian community to not seek for films made by people within their nation due to negative pre-conceived notions and the convenience of going to see a Hollywood Blockbuster. These issues are seen through the poor release of both critically received films, Jennifer Kent?s The Babadook (2014) and Hugh Sullivan?s The Infinite Man (2014), both not gaining a wide audience. Through these issues within the industry, Australian filmmakers have not been able to create the revenue needed for these films to branch out to be easily attained by the public.

Media, including movies has been an outlet for many directors and screenwriters to express both their opinions and to illustrate the social temperature in which they lived while injecting their own views into their work. Media 'fossils' like The Lost Boys directed by Joel Schumacher not only provide a thrilling tale for viewers, but also critiques, comments, and upholds different social norms in an amusing manner as an outlet for often controversial subjects such as peer pressure amongst young people. The Lost Boys may be a gory film, but to ignore the film's social context would be to ignore the complexity of the movie itself. Many young people today as well as in the eighties were under a siege of pressure from their peers to conform to the group's expectations. When the older brother Michael first goes into David and his friends' tomb, he is blatantly pressured into drinking and performing dangerous acts that he wouldn't normally do.

In this article, they address four noteworthy inquiries with information from this postliminary: (a) to what degree does early youth presentation to media brutality anticipate youthful grown-up aggression and viciousness? (b) Are there sexual orientation contrasts in the consistency? (c) Does the degree to which the tyke viewer relates to the forceful character or trusts the plot is practical influence the quality of the expectation? what's more, (d) To what degree does any long haul connection appear to be because of more forceful children just getting a kick out of the chance to watch roughness or appear to be because of some natural, family, or individual "third variable" that invigorates both youth brutality review and adolescence and grown-up

This was the only show that three underage children, Hazel, her baby brother, and Big Brood could watch without adult supervision, and it was about gorillas which seemed amusing. The author’s intent in this setting was to show the behavior and immaturity of the children. She captures the children’s immaturity by saying, “turn the place out”, “Baby Jason kicking at the seat in front”, and petty fighting.(272) Hazel realizes that this is not the movie that was advertized, and quickly discloses her trust issues with adults by saying, “Grownups figure they can treat you just anyhow. Which burns me up.” (273)

“Movies can and do have tremendous influence in shaping young lives in the realm of entertainment towards the ideals and objectives of normal adulthood.” -Walt Disney Since immemorial times Disney has been a base in the development of children's mindset and attitudes, the movies that this company produce are imminent to children since Walt Disney released the first movie. In the other side, there are certain things that these movies have that can be considered inappropriate or offensive for some people, some unspoken messages. Even though Disney have always been involved in kids development, most parents do not see the repercussions that some things Disney embrace have in their children’s future life and personality development.

Caetlin Benson-Allott points out how the feel and sense that the movie tries to emulate can no longer be obtained, or viewed because of the current age of media and the role of the economic cycle plays into the current age of film. Since modern films make most of their money through DVD and movie sales after a film's theatrical release the idea behind exploitation movies has been perverted further into a direction that illustrates the death of the theatrical nature of

My entire life I have been fascinated with film and commercials. As a kid, I would stop what I was doing to watch a commercial. This has not changed through the years. My goal in life is to work in the film industry and work with video. This may have developed from my brother’s short term love for the video arts. Like most little brothers I followed in his footsteps through a lot of things and most of them would not stick. As I grew older I developed my own different ideals and likes. But, video just stuck with me. Even if film production doesn’t work out I have always had a childlike excitement for fighting fires. Being the person to save the day is something that everybody wants to do, but not everyone peruses this dangerous career.

Entertainment has a unique way of being significant in everyday lives. It especially has a huge impact on the daily lives of children. The readings Toys by Roland Barthes and Violent Media Is Good for Kids by Gerald Jones perfectly capture this idea. Toys and media are specifically important in a child’s life for the sole reason that they are educational. Although they may seem like they are robbing children of their innocence, toys and media are actually teaching children to not be ignorant. They symbolize many things that children do not fully understand in the present but in the future will realize. Adulthood is not all happiness, not all peaches and cream. It most definitely matters what age a child is exposed to adulthood, though. A toddler should not be hit with those monstrosities of adulthood, but adolescent children should definitely not be oblivious. In childhood, toys could expose a child to adult-like imitations that could further prepare them to be a responsible adult. Toys are an epitome of adult responsibility, and violent media is a gateway to adulthood. This only supports the idea that entertainment is a crucial in the lives of children in many significant ways.

During the mid to late years of the 19th century, a new form of entertainment emerged. Film entered the stage of innovation. New marketing and technological innovations developed for film to become the art it is today. In the 1830s, Joseph Plateau designed the Phenakistoscope. This device had a picture in the middle of a wheel made with mirrors and small openings. When spun, the Phenakistoscope made the picture appear to move. The name changed to Zoetrope in the 1860s and producers advertised the product as an accessory every home needed (Dixon & Foster, 2008). Later inventions that preceded the first motion picture camera include: Henry Du Mont’s Omiscope, Henry R. Heyl’s Phasmatrope, Eadweard Muybridge’s Zoöpraxiscope, Etienne-Jules Marey’s fusil photographique and Eastman Kodak’s chronophotographs (Parkinson, 1997). With a design by Thomas Edison, William Kennedy Laurie Dickson built the first modern movie camera, the Kinetograph, in 1890 (Dixon & Foster, 2008). In 1895, Auguste and Louis Lumiére patented the Cinématographe, a machine that combined the engineering of a camera and a projector (Bergan, 2006). Businessmen capitalized on the growing need for a place to witness these brand new films, thus they charged people to see them in their living rooms (Potter, 2014). These creations made movie-making a reality.