Film industry Founded inthe Babelsberg Studio near Berlin was the first large-scale film studio in the world, and the forerunner to Hollywood. It still produces global blockbusters every year.
In some respects the motion picture is the American art form par excellence, and no area of art has undergone a more dramatic revision in critical appraisal in the recent past. It exists today in styles that differ significantly from country to country and in forms as diverse as the documentary created by one person with a handheld camera and the multimillion-dollar Image and motion pictures involving hundreds of performers and technicians.
A number of factors immediately come to mind in connection with the motion-picture experience. For one thing, there is something mildly hypnotic about the illusion of movement that holds the attention and may even lower critical resistance.
The accuracy of the motion-picture image is compelling because it is made by a nonhuman, scientific process. In addition, the motion picture gives what has been called a strong sense of being present; the film image always appears to be in the present tense.
There is also the concrete nature of film; it appears to show actual people and things. No less important than any of the above are the conditions under which the motion picture ideally is seen, where everything helps to dominate the spectators.
They are taken from their everyday environmentpartially isolated from others, and comfortably seated in a dark auditorium.
The darkness concentrates their attention and prevents comparison of the image on the screen with surrounding objects or people. For a while, spectators live in the world the motion picture unfolds before them.
Still, the escape into the world of the film is not complete. Only rarely does the audience react as if the events on the screen are real—for instance, by ducking before an onrushing locomotive in a special three-dimensional effect.
Moreover, such effects are considered to be a relatively low form of the art of motion pictures. Much more often, viewers expect a film to be truer to certain unwritten conventions than to the real world. Although spectators may sometimes expect exact realism in details of dress or locale, just as often they expect the film to escape from the real world and make them exercise their imagination, a demand made by great works of art in all forms.
The sense of reality most films strive for results from a set of codes, or rules, that are implicitly accepted by viewers and confirmed through habitual filmgoing. The use of brownish lighting, filters, and props, for example, has come to signify the past in films about American life in the early 20th century as in The Godfather  and Days of Heaven .
Storytelling codes are even more conspicuous in their manipulation of actual reality to achieve an effect of reality. Audiences are prepared to skip over huge expanses of time in order to reach the dramatic moments of a story.
La battaglia di Algeri ; The Battle of Algiersfor example, begins in a torture chamber where a captured Algerian rebel has just given away the location of his cohorts.
In a matter of seconds that location is attacked, and the drive of the search-and-destroy mission pushes the audience to believe in the fantastic speed and precision of the operation.
Furthermore, the audience readily accepts shots from impossible points of view if other aspects of the film signal the shot as real.
Fidelity in the reproduction of details is much less important than the appeal made by the story to an emotional response, an appeal based on innate characteristics of the motion-picture medium.
These essential characteristics can be divided into those that pertain primarily to the motion-picture image, those that pertain to motion pictures as a unique medium for works of art, and those that derive from the experience of viewing motion pictures.
Qualities of the film image The primary unit of expression in film is the image, or the single shot. The attribution of magical properties to images has a long history.
This association is well documented among many primitive peoples, and it is even reflected in the term magic lantern as a synonym for the film projector. Any image taken out of the everyday world and projected onto a screen to some extent appears to become magically transmuted.
Intensity, intimacy, ubiquity The qualities of intensity, intimacy, and ubiquity have been singled out as the salient characteristics of the motion-picture image.
Its intensity derives from its power to hold the complete attention of the spectator on whatever bit of reality is being shown. In the cinema one is compelled to look at something that not the viewer but the filmmaker has selected, for reasons that are not always immediately apparent.
This quality of intensity becomes most noticeable when the camera remains fixed on something for a longer time than seems warranted, and the spectator gradually becomes acutely conscious of his loss of volition over his own attention. This technique is not often used but is very effective when used well.
This ability is demonstrated in long-distance shots through a telephoto lens as well as in close-ups.
At the beginning of the Japanese film Suna no onna ; Woman in the Dunesfor example, a pervading theme of the film is indicated by shots of grains of sand many times enlarged. No less important to this illusion of ubiquity is the effect achieved by editing, which allows countless images representing a long, elaborate action to be presented in a comparatively short film or sequence, such as that exemplified by the opening of The Battle of Algiers.
The geographic and temporal authority of the image even permits credibility to be given to sequences representing the past, the future, and dreams. Particularity Other equally important characteristics of the film image may be singled out.Motion picture - Expressive elements of motion pictures: Many observers have seen in films a means of expression comparable to language.
The French poet and filmmaker Jean Cocteau, for example, called the cinema “picture writing.” The language of motion pictures, however, is not the language of words, even though spoken dialogue has been an integral part of motion pictures .
Types of motion pictures. Most connoisseurs of the art of motion pictures feel that the greatest films are the artistic and personal expression of strong directors.
The cinema exists, however, for many social functions, and its “art” has served many types of film that do not set out to be artistic.
Motionographer shares inspiring work and important news for the motion design, animation and visual effects communities. A film, also called a movie, motion picture, moving picture, theatrical film, or photoplay, is a series of still images that, when shown on a screen, create the illusion of moving images.(See the glossary of motion picture terms.).
This optical illusion causes the audience to perceive continuous motion between separate objects viewed in rapid succession.
The Image Motion Pictures, Mumbai, India. likes. The Image Motion is a Animation & Designing Studio, which is surging ahead in global entertainment. Motion picture: Motion picture, series of still photographs on film, projected in rapid succession onto a screen by means of light.
Because of the optical phenomenon known as persistence of vision, this gives the illusion of actual, smooth, and continuous movement. The motion picture is a remarkably effective.