1. Film production involves scripting, funding, preparation, shooting, and assembly. It brings together many roles from producers and screenwriters to directors, cinematographers, and editors. 2. Films are distributed primarily by major studios and brought to audiences through theatrical and non-theatrical exhibition. Distribution is a major business centered around a few powerful companies. 3. The mode of production, whether a large studio film or independent small production, influences the artistic implications and style of the final film.

1. Chapter 1 Film as Art:
creativity, Technology, and
Business

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Basic content
1 • Mechanics of the Movie-- Illusion Machines
2 •Making the Movie: Film Production
4 • Bringing the Film to the Audience
3 • Modes of Production

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Form and Style
The Shadow of a Doubt
directed by Alfred Hitchcock

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One night at dinner, Uncle Charlie praises small-town living. Women keep
busy in towns like Santa Rosa, he says, not like the rich, spoiled women one finds
in cities. He slowly slips into a venomous monologue.
And what do the wives do, these useless women? You see them in the
hotels, the best hotels, every day by the thousands. Drinking the money, eating
the money, losing the money at bridge, playing all day and all night. Smelling of
money. Proud of their jewelry but nothing else. Horrible . . . fat, faded, greedy
women.
Reacting to this, Little Charlie blurts out, "But they're alive! They're human
beings!" Uncle Charlie replies,‘ Are they? Are they, Charlie? Are they human or
are they fat, wheezing animals? And what happens to animals when they get too
fat and too old?" As if realizing he's gone too far, Uncle Charlie smiles and
switches back to his ingratiating manner.

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Mechanics of the Movie-- Illusion Machines
1 • Cameras
2 •Lighting equipment
4 • Computer-generated special effects
3 • Multitrack sound-mixing studios

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界 融合临 闪烁
•
光刺激在眼睛内所留下的 并不随着刺兴奋
激的 止而消失，而是要 持若干 ，终 维 时间
当刺激停止后所留下来的感 称作觉 为视觉
后象或称 残留（视觉 persistence of
vision ）。所以 网膜的反 并不能随着视 应
光的 始而 始，也不能随着 光的闪 开 开 闪 结
束而 束。结
•
于一个亮的和一个暗的 相 成的一个对 时 组
周期的断 光，当 率低 ， 察者看到续 频 时 观
的是一系列的 光：当 率增加 ，闪 频 时 变为
粗 、 ；直到 光增加到某一 率，闪 细闪 闪 频
人眼看到的不再是 光，而是一 固定或闪 种
的光。 个 率就叫做 光融合 率连续 这 频 闪 频
或 界 率， 称临 闪烁频 简 CFF ，是人眼 光对
刺激 分辨能力的指 。时间 标
critical flicker fusion

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•
20 世 初，德国心理学家纪 M. 韦
特海默用 方法研究了似实验 动现
象。他相 呈 一条垂直继 现 (a) 和
一条水平（ b ）的 亮 段发 线 , 改
条 段呈 的 距，并 量变两 线 现 时 测
它 的知 。 果 ，对 们 觉经验 结 发现
当 条 段的距离短于两 线 30 毫秒
，人 看到时 们 a 、 b 同 出 ；时 现
当 距 于时 长 200 毫秒 ，看到时
a 、 b 先后出 ；当 距现 时 约为 60
毫秒 ，看到 段从时 线 a 向 b 。运动
特海默 ，当 网膜受到 条韦 说 视 两
段的刺激后，会引起皮 相线 层 应
区域的 。在适当的 空条件兴奋 时
下， 个 回路之 生融这两 兴奋 间发
合，形成短路，因而得到 的运动
印象。似 象动现
Apparent motion

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The size and placement of the perforations
and the area occupied by the sound track have
been standardized around the world. So, too,
has the width of the film strip, which is called
the gauge and is measured in millimeters.
Commercial theaters use 35mm film, but other
gauges also have been standardized
internationally: Super 8 mm, 16mm, and
70mm (1.20-1.24).

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Usually image quality increases with the width of the film because
the greater picture area gives the images better definition and
detail. All other things being equal, 35mm provides significantly
better picture quality than does l6mm, and 70mm is superior to
both. The finest image quality currently available for public
screenings is that offered by the Imax system (1.25).

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Making the Movie: Film production
1 •Scripting and funding
•Preparation for film making2
4 •Assembly
3 • shooting
•As the French director Robert Bresson puts it, “A film
is born in my head and I kill it on paper. It is brought
back to life by the actors and then killed in the camera.
It is then resurrected into a third and final life in the
editing room where the dismembered pieces are
assembled into their finished form."

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1. Scripting and funding phase
•
The idea for the film is developed and a screenplay is written.
The filmmakers also acquire financial support for the project.
•
Two roles are central at this phase: producer (executive
producer; line producer) and screenwriter.
执行制片
在线制片

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2. The preparation phase
•
When funding is more or less secure and the script is solid
enough to start filming, the filmmakers can prepare for the
physical production. In commercial filmmaking, this stage of
activity is called preproduction.
Personnel
Casting supervisor
Screenplay
Set unit/
Production design unit
Production designer
Graphic artist
Art director
Set decorator
Set dresser
Costume designer

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3. Shooting phase
•
The filmmakers create the film's images and sounds.
During shooting, the director supervises what is called the director's crew, consisting of these personnel
Script supervisor
First assistant director
Second assistant director
Third assistant director
Dialogue coach
Second unit director

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3. Shooting phase
•
Cast Supportive players
Minor players
extras
Stars
•
Others Stunt coordinator
choreographer
wrangler
Stunt artist

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3. Shooting phase
•
Photography
unit
Camera operator
Key gripCinematographer/
Director of photography
•
Sound
unit
Boom operator
Third man
leader
Gaffer
leader
Production recordist/
Sound mixer
Sound designer

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3. Shooting phase
•
Visual-effects unit Visual effects supervisor
•
Miscellaneous unit
Makeup staff
Costume staff
leader
Hairdresser

27. Because scenes seldom ate filmed in story order, the director and crew
must have some way of labeling each take. As soon as the camera starts,
one of the cinematographer's staff holds up a slate before the lens. On the
slate is written the production, scene, shot, and take. A hinged arm at the
top, the clapboard, makes a sharp smack that allows the recordist to
synchronize the sound track with the footage in the assembly phase (1.30).
Thus every take is identified for future reference.
There are also electronic slates that keep track of each take automatically
and provide digital readouts.

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4. The assembly phase-
postproduction
•
The images and sounds are combined in their final form. This involves
cutting picture and sound, executing special effects, inserting music or
extra dialogue, and adding titles.
•
Relative terms
(1) editor—supervising editor
(2) dailies; rushes
(3) rough cut; final cut
(4) work print; nonlinear system
(5) sound editor; spotting; automated dialogue replacement; dubbing;
nonsynchronized dialogue; composer; temp dub

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Modes of production
1 •Large-scale production

30. studio

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Modes of production
1 •Large-scale production
•Small-scale production3
4 • Artistic implications of different
modes of production
•Exploitation and independent production2

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Artistic implications of different modes of production
•
On the basis of how the films are made, they can be
classified as
Documentary film
fiction film
animated film

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Bringing the film to the audience: distribution and
exhibition
1 •Distribution—the center of power
•
Six Hollywood firms remain the
world's major distributors. The
names are familiar: Warner
Bros., Paramount, Walt
Disney/Buena Vista,
Sony/Columbia, Twentieth
Century Fox, and Universal.
•
These firms provide mainstream
entertainment to theaters
around the world.
•
The films they release account
for 95 percent of ticket sales in
the United States and Canada,
and more than half of the
international market.
The major distributors have won
such power because large
companies can best
endure the risks of theatrical
moviemaking. Filmmaking is
costly, and most films
don't earn profits in theatrical
release. Worldwide, the top l0
percent of all films released
garners 50 percent of all box office
receipts. The most popular 30
percent of
films accounts for 80 percent of
receipts. Typically, a film breaks
even or shows a
profit only after it has been
released on cable, satellite, and
home video.

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Bringing the film to the audience: distribution and
exhibition
•Distribution—the center of power
Majors and minors Ancillary marketsSelling the film
trailer

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Bringing the film to the audience: distribution and
exhibition
2 •Exhibition: theatrical and nontheatrical

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Bringing the film to the audience: distribution and
exhibition
3 •Artistic implications of distribution and exhibition

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Summary
The art of film depends on technology, from the earliest experiments in
apparent motion to the most recent computer programs. It also depends
on people who use that technology, who come together to make films,
distribute them, and show them.
As long as a film is aimed at a public, however small, it enters into the
social dynamic of production, distribution, and exhibition. Out of
technology and work processes, filmmakers create an experience for
audiences. Along the way, they inevitably make choices about form and
style.
What options are available to them?
How might filmmakers organize the film as a whole?
How might they draw on the techniques of the medium?
The next two parts of this book survey the possibilities.