The document discusses several key aspects of the filmmaking process. It explains that films are designed to affect viewers and are a collaborative medium created through the combined efforts of filmmakers, technology, and corporations. It also addresses the creative decisions involved in filmmaking, including choices around style and form, and how these decisions can engage viewers. Additionally, it provides an overview of the technological mechanisms that make cinema possible, such as critical flicker fusion and apparent motion, as well as the various production modes, distribution methods, and exhibition formats used in the film industry.

1. Chapter 1
Film as Art: Creativity, Technology,
and Business
1
Copyright © 2017 McGraw-Hill Education. All rights reserved.
No reproduction or distribution without the prior written consent of McGraw-Hill Education.

2. Film as Art: Creativity, Technology,
and Business
• Films are designed to affect viewers.
• Appreciation of films increases with
awareness and understanding of the
filmmaking process.
• Films are a collaborative medium, created by
corporations, filmmakers, and complex
technology all working together.
2
Copyright © 2017 McGraw-Hill Education. All rights reserved.
No reproduction or distribution without the prior written consent of McGraw-Hill Education.

3. Art vs. Entertainment? Art vs.
Business?
3
• Simple value judgment: art is serious and
worthy, and entertainment is superficial
• Art versus business: some consider film as
art, and some consider film as business
Copyright © 2017 McGraw-Hill Education. All rights reserved.
No reproduction or distribution without the prior written consent of McGraw-Hill Education.

4. Creative Decisions in Filmmaking
• Filmmaking consists of making big and small
decisions.
• Form consists of the overall, unified shape of
the parts of the film.
• Style is the way a film uses the techniques of
filmmaking.
• Manipulation of style and form can create
viewer engagement.
4
Copyright © 2017 McGraw-Hill Education. All rights reserved.
No reproduction or distribution without the prior written consent of McGraw-Hill Education.

5. Creative Decisions: To See into the
Night in Collateral
• By altering the original setting and character,
the cab driver is more likeable and the setting
becomes a character in itself.
• High-definition cinematography, use of
existing light, and custom-made lights allowed
the film to have texture and depth.
5
Copyright © 2017 McGraw-Hill Education. All rights reserved.
No reproduction or distribution without the prior written consent of McGraw-Hill Education.

6. Creative Decisions: To See into the
Night in Collateral
• Seamless editing heightened excitement
during stunts.
• The soundtrack sets the pace for the climactic
progression, building suspense and
excitement in the viewer.
6
Copyright © 2017 McGraw-Hill Education. All rights reserved.
No reproduction or distribution without the prior written consent of McGraw-Hill Education.

7. Mechanics of the Movies
• Filmmaking relies on technology and
financing.
• Two processes in cinematic motion: critical
flicker fusion and apparent motion.
• Earliest, widely used format: photographic
film.
7
Copyright © 2017 McGraw-Hill Education. All rights reserved.
No reproduction or distribution without the prior written consent of McGraw-Hill Education.

8. Illusion Machines
• Critical flicker fusion: each frame is projected
on the screen twice
• Apparent motion: our eyes are fooled into
seeing movement
8
Copyright © 2017 McGraw-Hill Education. All rights reserved.
No reproduction or distribution without the prior written consent of McGraw-Hill Education.

9. Making Films with Photographic
Film
• The film strip is called a negative.
• The strip has perforations, used to pull the
film through a camera or projector at a steady
rate.
• The film strip also has space for the sound
track.
• Film strips vary in width: 70mm; 35mm;
16mm; and 8mm.
9
Copyright © 2017 McGraw-Hill Education. All rights reserved.
No reproduction or distribution without the prior written consent of McGraw-Hill Education.

10. Filmmaking as Digital Media
• Digital film: much like 35mm camera, but with
fixed light-sensitive sensor.
• Early 1990s used DV (digital video) format.
• In 2000s, HD (high-definition) video is used.
• Resurgence of 3D technology in mid-2000s.
10
Copyright © 2017 McGraw-Hill Education. All rights reserved.
No reproduction or distribution without the prior written consent of McGraw-Hill Education.

11. Making the Movie: Film Production
1. Scriptwriting and Funding: the script is
developed and funding is acquired.
2. Preparation for Filming: planning the
production.
3. Shooting: the actual film is made.
4. Assembly: images and sounds are combined;
music, dialogue, and titles are added.
11
Copyright © 2017 McGraw-Hill Education. All rights reserved.
No reproduction or distribution without the prior written consent of McGraw-Hill Education.

12. Modes of Production
• Large-Scale Production: prior to 1960s, large
studios centrally managed film production.
• Independent Production: usually lower-
budget films where directors often have more
control over production.
• Small-Scale Production: where one person or
a small group creates the entire film.
12
Copyright © 2017 McGraw-Hill Education. All rights reserved.
No reproduction or distribution without the prior written consent of McGraw-Hill Education.

13. Art and Production Modes
• Films can be categorized based on how they
are made, such as the fiction film and the
documentary film.
• The director is considered the author of a film
because the crew’s job is to create the
director’s vision.
13
Copyright © 2017 McGraw-Hill Education. All rights reserved.
No reproduction or distribution without the prior written consent of McGraw-Hill Education.

14. Distribution: The Center of Power
• Distribution releases the films to the theaters,
dictates rental terms, and collects rental fees.
• Major distributors are part of multinational
corporations, giving them easy access to
funding.
• Distributers also provide the publicity
campaign.
14
Copyright © 2017 McGraw-Hill Education. All rights reserved.
No reproduction or distribution without the prior written consent of McGraw-Hill Education.

15. Exhibition:
Theatrical and Nontheatrical
• Theatrical involves the public paying
admission.
• Nontheatrical includes video, cable, satellite,
streaming, and other screenings such as film
festivals.
15
Copyright © 2017 McGraw-Hill Education. All rights reserved.
No reproduction or distribution without the prior written consent of McGraw-Hill Education.

16. Ancillary Markets: Taking Movies
Beyond the Theater
• These include airline release, pay-per-view,
cable, network broadcasts, DVD release, and
online streaming.
• Typically video generates more money than
theatrical release, which has allowed smaller
distributors and foreign films to be profitable.
• Digital technology is spreading nontheatrical
viewing.
16
Copyright © 2017 McGraw-Hill Education. All rights reserved.
No reproduction or distribution without the prior written consent of McGraw-Hill Education.

17. Artistic Implications of Distribution
and Exhibition
• Video has allowed filmmakers to capitalize on
viewer’s ability to re-watch films, creating
new narrative possibilities.
• With the spread of digital technology, short-
form storytelling is spreading and marketing
and merchandising is changing.
17
Copyright © 2017 McGraw-Hill Education. All rights reserved.
No reproduction or distribution without the prior written consent of McGraw-Hill Education.

18. Screens and Sounds: Stylistic
Opportunities and Challenges
• Dolby 5.1 surround sound allows for an
immersive audio environment.
• The size and shape of the screen has also
affected the way filmmakers compose shots.
18
Copyright © 2017 McGraw-Hill Education. All rights reserved.
No reproduction or distribution without the prior written consent of McGraw-Hill Education.