MOVIES / MOTION PICTURE

Movie or Motion Picture, a series of images that are projected onto a screen to create the illusion of motion. Motion pictures—also called movies, films, or the cinema—are one of the most popular forms of entertainment, enabling people to immerse themselves in an imaginary world for a short period of time. But movies can also teach people about history, science, human behavior, and many other subjects. Some films combine entertainment with instruction, to make the learning process more enjoyable. In all its forms, cinema is an art as well as a business, and those who make motion pictures take great pride in their creations.

The images that make up a motion picture are all individual photographs. But when they appear rapidly in succession, the human eye does not detect that they are separate images. This results from persistence of vision, a phenomenon whereby the eye retains a visual image for a fraction of a second after the source has been removed. Although we do not experience the images as individual photographs, we do notice the differences between them. The brain then perceives these differences as motion.

Motion pictures are recorded using specially designed cameras that capture the images on rolls of film. After being processed and printed, the film is run through a projector, which shines light through the film so that the images are displayed on a screen. Most movies have accompanying sound.

The persistence of vision concept stimulated experimentation with motion-picture devices throughout the 19th century. Among the first such devices was a slotted disk with a sequence of drawings around its perimeter. When a person spun the disk in front of a mirror and looked through the slots, the drawings appeared to move. The zoetrope, a device developed in the 1830s, was a hollow drum with a strip of pictures around its inner surface. When spun, it produced the same effect. In the 1870s French inventor Émile Reynaud improved on this idea by placing mirrors at the center of the drum. A few years later he developed a projecting version, using a reflector and a lens to enlarge the moving images. In 1892 he began holding public screenings in Paris at his Théâtre Optique, with hundreds of drawings on a reel that he wound through his apparatus to construct moving images that continued for 15 minutes.

Inventors began to conceive of combining the principles of these moving-image devices with the photographic recording of actual movement soon after the development of still photography in the 1830s. The most famous experiment occurred in the 1870s in California, where railroad tycoon Leland Stanford hired British photographer Eadweard Muybridge to settle a bet on whether a galloping horse ever had all four feet off the ground. Muybridge set up 12 cameras along a racetrack and spread threads across the track with a contact to each camera’s shutter. Moving along the track, the horse broke the threads and caused a sequence of photographs to be taken. The photos showed the horse with all four feet off the ground, and Muybridge went on a lecture tour showing his photographs on a moving-image device he called the zoopraxiscope.

Muybridge’s endeavors stimulated French scientist Étienne-Jules Marey to devise equipment for recording and analyzing animal and human movement. He built what he called a chronophotographic camera that could take multiple images superimposed on one another. His work was aided in turn by developments in photographic materials. In 1885 American inventor George Eastman introduced sensitized paper roll “film” in place of the individual glass plates then in use. In 1889 Eastman replaced the paper roll with celluloid, a synthetic plastic material coated with a gelatin emulsion.

Legendary American inventor Thomas Alva Edison drew upon the work of Muybridge, Marey, and Eastman when he turned his attention to motion pictures in the late 1880s. In his laboratories in West Orange, New Jersey, Edison assigned to a British employee, William K. L. Dickson, the task of constructing a machine for recording actual movement on film and another machine for viewing the resulting images. By 1891 Dickson had produced a motion-picture camera, called the Kinetograph, and a viewing machine, dubbed the Kinetoscope.

The Kinetograph was operated by an electric motor that moved the celluloid film roll past the camera lens. Motor-driven cameras, which were bulky and stationary, were soon replaced by movable hand-cranked cameras. Dickson’s key contribution was a sprocket mechanism linked to the camera’s shutter, which momentarily stopped the film roll for each exposure. These separate still photographic images came to be called frames. Early cameras used a number of different speeds for exposing frames, but by the advent of sound film in the late 1920s the standard had become 24 frames per second.

In early 1893 Edison constructed a motion-picture studio on his laboratory grounds, dubbed the Black Maria by his staff who thought it resembled police patrol wagons known by that nickname. On May 9, 1893, he held the first public exhibition of films shot using the Kinetograph in the Black Maria. But only one person at a time could use his viewing machine, the Kinetoscope. This boxlike structure contained a motor-and-shutter mechanism similar to the camera’s. It ran a loop of positive film past an electric light source, illuminating a tiny image, which the viewer observed through a small window. Kinetoscope viewing parlors containing many machines for individual viewing began to open in cities in 1894. Edison and Dickson apparently gave little thought to a single machine that could project moving images to a large audience, something Reynaud had achieved in his Théâtre Optique. Reynaud, however, had displayed drawings rather than images photographed by a motion-picture camera.

In France, the brothers Auguste and Louis Lumière, who ran a factory in Lyons that manufactured photographic equipment, sought to improve on Edison’s accomplishment. By 1895 they developed a lightweight, hand-held camera that used a claw mechanism to advance the film roll. They named it the Cinématographe, and they soon discovered that it could also be used to show large images on a screen, when linked with projecting equipment. Throughout 1895 they shot films and projected them for select groups. Their first screening for the general public was held in Paris in December 1895.

Elsewhere other inventors were also busy. In Germany, the brothers Emil and Max Skladanowsky devised an apparatus and projected films in Berlin in November 1895. In Britain, a machine developed by Birt Acres and Robert W. Paul was used to project films in London in January 1896. In the United States, a projector called the Vitascope was constructed around the same time by Charles Francis Jenkins and Thomas Armat. Armat then entered into a commercial alliance with Edison to manufacture the Vitascope, and the device exhibited projected motion pictures in New York City in April 1896.

The Lumière brothers held a unique place among all these simultaneous efforts, since they were innovative filmmakers as well as inventors and manufacturers. The many films they made during 1895 and 1896, though very short, are considered pivotal in the history of motion pictures. Arroseur et arrosé (Waterer and Watered, 1896), a brief comedy drawn from a newspaper cartoon, shows a gardener getting drenched with a hose as the result of a boy’s prank. La sortie de l’usine Lumière à Lyon (Workers Leaving the Lumiere Factory, 1895) and Arrivée d’un train en gare (Arrival of a Train at La Ciotat, 1896), which shows a train coming to a station and passengers getting off, were among the so-called actuality films—films that depicted actual events rather than a story told by actors—for which the Lumières became noted.

While the blockbuster dominated the economics of motion pictures screened in theaters in the years after 1975, the advent of home entertainment delivery systems had an equally profound effect on movie culture—perhaps the most striking impact of any technological change in the medium’s history. The first new system was the videocassette recorder (VCR), which could play prerecorded videotapes or record programs shown on television for later playback. At the same time, cable television systems vastly expanded the number of channels available to the home viewer along with access to recent movies (see Broadcasting, Radio and Television: Current Trends; Television: Cable Transmission). As these new technologies came into widespread use, on the horizon loomed the computer, offering possibilities for home viewing and as a tool in media production. The digital video disc, or DVD, became one of the major techniques for viewing movies on computers and also began replacing videocassettes as the major format for home viewing.

TV / TELEVISION

Television, system of sending and receiving pictures and sound by means of electronic signals transmitted through wires and optical fibers or by electromagnetic radiation. These signals are usually broadcast from a central source, a television station, to reception devices such as television sets in homes or relay stations such as those used by cable television service providers. Television is the most widespread form of communication in the world. Though most people will never meet the leader of a country, travel to the moon, or participate in a war, they can observe these experiences through the images on their television.

Television has a variety of applications in society, business, and science. The most common use of television is as a source of information and entertainment for viewers in their homes. Security personnel also use televisions to monitor buildings, manufacturing plants, and numerous public facilities. Public utility employees use television to monitor the condition of an underground sewer line, using a camera attached to a robot arm or remote-control vehicle. Doctors can probe the interior of a human body with a microscopic television camera without having to conduct major surgery on the patient. Educators use television to reach students throughout the world.

People in the United States have the most television sets per person of any country, with 835 sets per 1,000 people as of 2000. Canadians possessed 710 sets per 1,000 people during the same year. Japan, Germany, Denmark, and Finland follow North America in the number of sets per person.

A television program is created by focusing a television camera on a scene. The camera changes light from the scene into an electric signal, called the video signal, which varies depending on the strength, or brightness, of light received from each part of the scene. In color television, the camera produces an electric signal that varies depending on the strength of each color of light.

Audio signals from microphones placed in or near the scene also flow to the control room, where they are amplified and combined. Except in the case of live broadcasts (such as news and sports programs) the video and audio signals are recorded on tape and edited, assembled with the use of computers into the final program, and broadcast later. In a typical television station, the signals from live and recorded features, including commercials, are put together in a master control room to provide the station's continuous broadcast schedule. Throughout the broadcast day, computers start and stop videotape machines and other program sources, and switch the various audio and visual signals. The signals are then sent to the transmitter.

The transmitter amplifies the video and audio signals, and uses the electronic signals to modulate, or vary, carrier waves (oscillating electric currents that carry information). The carrier waves are combined (diplexed), then sent to the transmitting antenna, usually placed on the tallest available structure in a given broadcast area. In the antenna, the oscillations of the carrier waves generate electromagnetic waves of energy that radiate horizontally throughout the atmosphere. The waves excite weak electric currents in all television-receiving antennas within range. These currents have the characteristics of the original picture and sound currents. The currents flow from the antenna attached to the television into the television receiver, where they are electronically separated into audio and video signals. These signals are amplified and sent to the picture tube and the speakers, where they produce the picture and sound portions of the program.

In digital television broadcasting, the video and audio signals are digitally compressed as sets of numbers. These numbers are carried by the broadcast signal but must be decoded by a digital receiver to be translated back into video and audio signals. Digital information takes up less bandwidth than an analog signal and greatly reduces interference and other problems. Picture and sound quality can be much clearer and more detailed than with analog signals. Multiple digital signals can be sent at the same time.

ACTORS / ACTING

Acting, the representation of a character on stage, in a motion picture, or in a television production. Acting is a formalization of play. Its symbol-making process predates writing and is thought to be a universal cultural phenomenon. Most societies have designated special times and places where make-believe activities are presented before spectators. The performers who entertain the audience by transforming themselves into human, animal, or divine characters are called actors.

The impulse to act appears to be instinctive in humans. It is related to the natural development of the imagination and of social skills in children. Mimicry, disguise, imitation, fantasy, and transformation are the sources of most play activity and complex games. Learning to pretend and mastering different roles allow children to find their place in the family and among their peers.

Each theatrical tradition has its own rules and conventions as to what constitutes good acting. Essentially, an actor's talents are judged by his or her ability to effectively communicate dialogue and a sense of character to the spectator. This is normally accomplished through voice, movement, and the registration of emotion. But other artistic qualities—often difficult to describe or define—such as charm, depth of feeling, originality, plausibility, and physical attractiveness also affect the audience's judgment.

Acting is a complex art. The professional actor's mastery of voice projection, elocution (speaking style), diction (clarity of pronunciation), gesture, stage movement, and other abilities is only the first component of the craft. Other basic skills include the memorization of lines and cueing; manipulation of masks, costumes, and stage properties; and the embodiment of character through the expression of class status, gender, age, nationality, and temperament. Learning these skills generally takes several years. For traditional forms of Asian theater, training is often arduous. Most forms of Indian dance-drama, for example, require dedicated study beginning in early childhood to master a complex, stylized system of gestures, movements, and facial expressions.

In theater productions the actor speaks and moves in the imaginary environment of the stage, and so his or her powers of pretense must be sharply focused over an extended period of time or the entire dramatic atmosphere may collapse. Achieving a believable transformation into the character and entry into the play's circumstances requires a constant stream of inspiration from the actor's psyche. In many cultures, this ability to awaken the creative centers of the brain and achieve vibrant expression is the foundation of great acting. Only when the performer is properly stimulated internally can the spectator also be stirred deeply and propelled into the moment-by-moment reality of the play.

The controlled production of emotions is the actor's special creative problem. Other artists—such as painters, sculptors, composers, or novelists—are not expected to complete a new masterpiece every night, or even every year; yet the working stage actor must perform creatively on command at an announced time and place before a live audience. Or put another way, the performing artist is forced to inhabit a character even when he or she may feel no special inspiration or artistic impulse. And since theater performances are normally repeated over several evenings or months, actors, even when successful one night, must constantly replenish, or reinspire, themselves artistically. The performer's fear of losing certain psychic and physical energies—or growing stale in a role—has been articulated since the 1st century ad. The need to overcome this obstacle differentiates actor training from all other forms of artistic study.

Aristotle undertook the first theoretical discussion of acting in the West in his Poetics (about 330 bc). Actors in the classical Greek theater wore larger-than-life masks and heavy garments to represent mythological and historical characters. They communicated temperament and feeling primarily through speech and stylized gestures whose meaning was clear to spectators. Professional performers underwent a rigorous regimen of speech training and vocal exercise. According to Aristotle, the human voice alone could register passion and delight. He also wrote that the most convincing portrayals of distress and anger, for example, were produced by performers who truthfully felt those emotions at the moment they expressed them. Finding the true feeling in the proper place and time on stage, however, was a problem that Aristotle addressed less well. He concluded that acting was an occupation for the gifted or insane.

How to cross the artistic boundary beyond feigned emotions and flat imitation obsessed many Greek actors. In 315 bc the tragedian Polus carried the real ashes of his recently deceased son in an urn to stimulate a sense of genuine grief when he played the mythological character Electra mourning her dead brother Orestes. (At that time and for hundreds of years afterward, male actors played the parts of women.) In doing so, he moved his Athenian audience deeply, but Polus's experiment was not easily duplicated and remained a historical curiosity.

With the decline of the Greek theater by the 3rd century bc, the art of acting almost disappeared for a thousand years in the West. Theater existed and flourished during the Roman Empire (1st century bc to 5th century ad) and in European courts and cities during the Middle Ages (5th century to 15th century), but actors themselves were normally regarded as unreliable vagabonds or social outcasts. Rarely were they accorded the status of true artists or professional interpreters of dramatic texts. Only in the 17th and 18th centuries did the perception of theater and acting change.